Chicago  Plan  Number 


n 


MOULT  ON  &RICKETTS 

PAINTINGS 

Etchings 
Mezzo-Tints 
Colored  Gravures 

FRAMING  and  REGILDING 


NEW  YORK 

12  W.  45th  STREET 


CHICAGO  MILWAUKEE 

73  B.  VAN  BUREN  ST.  535  JACKSON  ST. 


Gage  Hats  are  on  display  and  for  sale  at 
leading  retail  millinery  establishments. 

Send  2  cents  for  our  style  portfolio 
showing  trimmed  and  tailored  hats 
for  spring.  Address,  Dept.  O 


Gage  Brothers  £&  Co.,  Chicago 

Ask  your  dealer  for  Gage  Hats 


r 


White  Self-Starting  Six 


RODUCED  to  meet  the  heretofore  unfilled  demand  for 
a  powerful  six-cylinder  car  that  is  both  economical  in 
operation  and  simple  in  construction  and  control.  The 
White  Self-Starling  Six  Cylinder  Sixty  presents  a  striking  con- 
trast to  the  conventional  types  of  six-cylinder  cars. 

Absolutely  the  latest  in  every  detail  of  body  design,  with 
lines  unbroken  by  hinges  and  handles,  the  White  Six  is  the  only 
car  to  incorporate  the  entirely  new  but  extremely  convenient 
combination  of  the  left  hand  drive  with  a  thoroughly  practical 
and  efficient  electric  starting  and  lighting  system,  making  it 
possible,  for  the  first  time  in  motor  car  construction,  to  reach 
the  driving  seat,  start,  and  light  the  car  without  the  necessity 
of  stepping  into  the  street. 


The  White^|Tgf  Company 

CLEVELAND 

Manufacturers  of  Gasoline  Motor  Cars,   Trucks,  and   Taxicabs 


White    Motor    Trucks 

are  used  by  the  leading  mercantile  and  manufacturing  firms 
throughout  the  country  in  over  one  hundred  and  fifty  different 
lines  of  business. 

White    Motor    Trucks 

are  selected  on  account  of  their  strength  and  simplicity  of 
construction,  ease  and  economy  of  operation,  and  reliability 
and  long  life  in  service. 

White    Motor    Trucks 

are  built  in  capacities  of  three-quarters,  one-and-one-half,  three, 
and  five  tons,  suitable  to  the  widest  range  of  requirements. 


The 


CLEV'ELAND 


Manufacturers  of  Gasoline  Motor   Cars,   Trucks,  and   Taxicabs 


Sterling  Silver 


In  our  "SILVER  ROOM"  we  are 
featuring  exclusively  the  product 
of  the  celebrated  Reed  &  Barton 
Factory. 

These  productions  are  fashioned 
of  Sterling  Silver  by  master  Crafts- 
men whose  constant  aim  is  to 
create  wares  of  superior  merit  and 
of  surpassing  excellence  in  both 
workmanship  and  finish. 

We   Solicit    Your   Patronage 


&  Company 


NORTH  WAB AS  H  AVEN  UE 

CARRIAGE    ENTRANCE 
6O  EAST  MADISON  STREET 


You  Women  Who 
Drive  Electric  Cars: 


Let  These  Easy-Riding  Tires 
forever  End  All  Punctures 

You,  madam,  are  entitled  to  a  car  that  you 
can  drive  any  place  without  fear  of  punctures, 
blow-outs  or  dangerous  skidding. 

Simply  tell  your  garage  man  to  put  Motz 
Cushion  Tires  on  your  car,  or,  if  you  are 
about  to  buy  anew  car,  specify  Motz  equip- 
ment. Leading  makers  of  electrics  furnish 
Motz  equipment. 

Please  do  not  confuse  the  Motz  Cushion 
Tire  with  the  solid,  hard  rubber  tire  some- 
times used  on  electric  cars.  Solid  tires  lack 
"life,"  resiliency.  They  are  only  practical 
for  delivery  trucks. 

On  the  other  hand,  Motz  Cushion  Tires  are 
just  as  lively  and  resilient  as  the  properly- 
inflated  pneumat'c. 

You  will  be  amazed  at  the  economy  of 
this  tire,  too.  It  ends  tire  repairs.  Motz 
Cushion  TNres  are  guaranteed  for  10,000 
miles  —  two  years;  pneumatics  average  less 
than  3,000. 

Motz  Cushion 
Tires  fit  any  stan- 
dard clincher, 
universal  quick- 
detachable  or  de- 
mountable rim. 

Just  write  us  on 
a  postal  the  kind  of 

.  3    CM    YOU    Own   OT 

duced  by  double,  notched  treads,  expect   to    DUV.  and 
under-cut  sides,  slantwise  bridges  •«     •  c   u 

and  secret-processed  rubber.  we  Will  g'VC  you  full 

(A)~S£d!?  tt°ut*f'   notched  information  on  the 

CB)  —  Shows  undercut  sides.  tires    V  O  U     need. 

(O—  Shows  slantwise  bridges.  _,.          J     .   f      ,       . 

(D)—  Shows  absorbing  means  Please  ask  for  DOOk- 

when  passing  over  an  ob-  «   .  Q  . 

structlon.  let  o*. 

THE  MOTZ  TIRE  &  RUBBER  COMPANY 

Factories    and    Executive    Offices:    AKRON.   OHIO 

BRANCHES: 
NEW  YORK  CHICAGO  DETROIT 

1717  Brwdw.y  2023  Mkhifaa  Are.      999  Woodward  An. 

KANSAS  CITY.  409  Eut  15ih  Stnct 

We  also  Manufacture  Demountable  Solid  and  Cushion 
Tires  for  Commercial  Can 

MOTZ 

CUSHION  TIRES 

(189) 


A  Real  Fireplace 


must  not  only  be  beautiful  and  in  perfect 
keeping  with  the  general  design  of  the  room 
but  it  must  also  be  thoroughly  practical.  A 
smoking,  sooty  fireplace,  that  burns  up  un- 
limited fuel  without  giving  either  heat  or 
ventilation,  is  sure  to  be  a  continual  source  of 
aggravation  and  regret. 

The  Colonial  Head,  Throat  and  Damper 

saves  50%  of  heat  and  tuel  —  -the  only  real  advance  in 
fireplace  construction  in  the  last  century.  Converts 
fireplace  from  an  extravagance  to  one  of  the  most 
economical  methods  oi  heating.  Perfect  radiation  to 
all  parts  of  the  room.  Draft  may  be  regulated  in- 
stantly to  a  hair's  breadth  by  simply  turning  a  sxall 
knob.  No  stooping  —  no  soiling  of  hands  or  clothes  — 
absolutely  all  smoke  goes  up  chimney.  The  only 
damper  to  allow  for  heat  expansion  and  contrac.ion. 
Recommended  bv  leading  architects. 

Send  In  This  Coupon 

for  beautiful  free  booklet,  "Home  and  the  Fireplace," 

telling  how  to  get  and  install  any  design  —  all  about 
Colonial  Fireplaces  and  the  Colonial  plan  wh  ch 
makes  obtaining  a  fireplace  as  easy  as  ordering  a  pic- 
ture. Many  beautiful  photographs  of  Colonial  de- 
signs. How  you  can  have  special  design  made  free  of 
cost,  etc.  Colonial  Fireplaces  are  adapted  to  any 
fuel.  You  need  this  book  —  it  will  be  a  big  help  and 
save  you  lots  of  trouble.  Just  send  in  the  coupon 
now. 

Colonial  Fireplace  Company 

Dept  .  1754  W.  12th  St.  and  46th  Ave.  CHICAGO,  ILL. 


Colonial  Fireplace  Company.    Dept.  1754      I 
W.  12th  St.  and  46th  Ave..  CHICAGO.  ILL. 

Please  send  me  free  ot  cost  your  illustrated  book- 
let, "Home  and  tne  Fireplace." 


Name  ..„ 
Address 


are  artistically  and  mechanically  pre-eminent  in 
the  electric  vehicle  field.  This  position  has  been 
won  by  the  building  of  a  car  perfect  in  artistic 
harmony  and  mechanical  excellence.  Its  individ- 
uality in  design  appeals  to  the  discriminating  and 
the  mechanical  construction  satisfies  the  expert. 


Agencies  in  all 
the  big  cities 


Nine  models. 
Three  chassis 


CLUB  ROADSTBR 


The  Rauch  &  Lang  Carriage  Co. 

2180  West  25th  Street,  CLEVELAND,  OHIO 


Entered  at  Chicago  Post  Office  as 
Second  Class  Mail,  May  4,  19OO 


Frank  James  Campbell,  Publisher 
James   William    Pattison,    Editor 


FINE  ARTS  JOURNAL  CONTENTS 


VOLUME  XXVII 


CHICAGO   MARCH,  1912 


NUMBER  THREE 


Frontispiece — Proposed  Boulevard  to  connect  the  north  and 
south  sides  of  the  river,  view  looking  north  from  Wash- 
ington St. --Painting  by  Jules  Guerin. 

"The  Chicago  Plan"— To  make  Chicago  Beautiful  Page 

By  James  William  Pattison 131 

T  went* -four  Illustrations 

"A  Sculptor's  Dream  of  the  'Chicago  Beautiful'  " 

By  Giselle  D'  Unger 158 

Ten  Illustrations 

Exhibitions  in  Chicago 

By  the  Editor 169 

Two  Illustrations 

"The  Italian  Artist— Ferruccio  Scattola" 

By  Charles  Louis  Borgmeyer 175 

Twenty-five  Illustrations 

"About  the  Fireplace— Old  and  New" 

By  Evelyn  Marie  Stuart 1 90 

Twelve  Illustrations 

"Charles  W.  Hawthorne — Intellectual  Painter" 

By  Robert  G.  Mclntyre 1 99 

Seven  Illustrations 


HON.  JOHN  E.  W.  WAYMAN 


npHE  plans  for  a  "City  Beautiful"  will  be 
•*•  greately  enhanced  by  the  nomination  and 
election  of  a  gentleman  with  a    spotless 
character  and  public  record  as  Governor  of 
the  great  State  of  which  Chicago  furnishes  one 
third  the  population  and  many  of  her  chief 
commercial  interests. 
Such  a  man  is 

Hon.  John  £.  W.  Wayman 

the  gentleman  who,  as  States  Attorney  of 
Cook  County,  has  done  so  much  for  the  moral 
uplift  of  the  City  and  County  through  the 
banishment  of  graft,  corruption  and  crime 
from  commercial  and  civic  affairs. 

A  vote  for  Mr.  Wayman  on  April  9th  for 
the  Republican  nomination  for  Governor  will 
not  only  be  appreciated  by  the  candidate  and 
his  friends,  but  will  contribute  very  materially 
towards  making  Chicago  indeed  the  "City 
Beautiful"  in  all  things  worth  while. 

WAYMAN 

Campaign  Committee 

GREAT  NORTHERN,  CHICAGO 


CLASSIC      DESIGNS      IN 

SILVER    FOR    YOUR 

TABLE 


NOW-A-DAYS  IT  IS  THE  CORRECT  THING  TO 
HAVE  YOUR  SILVERWARE  ALL  OF  ONE  DESIGN, 
OR  PATTERN;  A  GOOD  IDEA,  TOO. 

MANY  HOUSEWIVES  ARE  GRADUALLY  RE- 
PLACING THE  OLD  WARE  WITH  NEW,  ALL  OF 
ONE  STYLE. 

THIS  IS  ONE  REASON  WHY  WE  CARRY  THESE 
SPECIAL  DESIGNS  OF  OURS  THROUGH  THE 
ENTIRE  SERIES. 

A  TABLE  FURNISHED  WITH  TOWLE  SILVER  IS 
PERFECTLY  APPOINTED. 

WE  SHOW  HERE  TWO  PIECES  OF  THE  BENJ. 
FRANKLIN  PATTERN;  YOU  MIGHT  PREFER 
LA  FAYETTE,  PAUL  REVERE,  C  O  LO  N  I  A  L.  G  E  O  R- 
GIAN  OR  NEWBURY.  YOUR  JEWELER  CAN 
SHOW  ANY  OF  THEM. 


TOWLE     MFG.    COMPANY 

SILVERSMITHS 
NEWBURYPORT,      MASSACHUSETTS 


CHICAGO 

29    E.    MADISON    ST. 


NEW    YORK 
17    MAIDEN    LANE 


MO      RETAIL     BUSINESS     ANYWHER  E 


This  mark  is  the 
Towle  sign  of  quality 


PROPOSED  BOULEVARD  TO  CONNECT  THE  NORTH  AND 
SOUTH  SIDES  OF  THE  RIVER,  VIEW  LOOKING  NORTH 
FROM  WASHINGTON  ST.— PAINTING  BY  JULES  GUERIN 


THE  PROPOSED  PLAZA   O.Y  MICBIQAH  AYEXl'E 


The   Chicago   Plan'       To   Make 
Chicago   Beautiful 

By    JAMES    WILLIAM    PATTISON 


THE  talk  about  "Chicago  Beautiful"  is 
an  absurdity  to  a  large  number  of 
inhabitants  of  this  busy  metropolis. 
The  truth  is  that  there  are  some  who  do  not 
know  what  the  words  mean,  having  had  no 
experience  in  things  beautiful,  as  they  have 
grown  up  amid  more  or  less  squalid  sur- 
roundings. Some  read  about  artistic  cities 
and  some  have  crossed  the  water  to  Europe 
and  seen  them,  but  many  imagine  that  beauty 
and  business  can  never  go  hand  in  hand. 
They  think  that  the  old  countries  of  Eu- 
rope, with  the  traditions  growing  out  of  the 
acts  of  an  absolute  government,  which  has 
~aid  "Let  there  be  beauty,"  and  dictated 
in  an  autocratic  manner  the  placement  and 
character  of  beautiful  things,  are  the  prop- 
er locality  to  seek  for  such  things  :  and  that 
republican  America,  which  has  no  artistic 
traditions  or  public  art,  should  be  perfectly 
satisfied  with  simple  financial  prosperity. 

This  contingent  of  our  population  looks 
on  coldly  when  the  Chicago  Plan  is  pre- 
sented to  them.  It  is  the  mission  of  people 


of  cultivated  taste,  who  have  faith  and  fore- 
sight, to  educate  these  doubting  Thomases 
and  change  their  ideas.  The  way  to  do 
this  is  to  show  them  some  striking  example 
of  betterment  which  will  appeal  to  their 
partially  developed  sense  of  orderliness  and 
propriety. 

Everyone  of  us  should  know  the  proposi- 
tions contained  in  the  Chicago  Plan.  Brief- 
ly it  is  a  scheme  invented  by  certain  distin- 
guished people  who  see  plainly  the  necessity 
of  improving  the  avenues  of  circulation,  in 
order  to  facilitate  business,  and  of  beautify- 
ing certain  portions  of  the  city  in  order  to 
give  the  people  (although  they  are  now  in- 
different) opportunities  for  recreation  and 
physical  improvement,  on  the  principle  that 
"All  work  and  no  play  makes  Jack  a  dull 
boy."  That  the  people  will  immediately 
appreciate  a  betterment  of  conditions  is 
very  evident.  They  all  do  somewhat  ap- 
preciate it  now,  but  look  upon  it  as  an 
unattainable  luxury. 

Influenced  by  certain  leading  minds  the 


I  32 


"THE     CHICAGO     PLAN  — 


TO     MAKE     CHICAGO     BEAUTIFUL 


133 


Chicago  Commercial  Club  interested  itself 
warmly  in  developing  the  thought,  raised 
the  necessary  funds  and  appealed  to  the  no- 
ted architect  Daniel  H.  Burnham  to  de- 
velope  a  plan  embodying  the  necessary  im- 
provements. The  great  architect  responded 
cheerfully  and,  aided  by  Frank  I.  Bennett, 
caused  very  beautiful  and  elaborate  maps 
to  be  made  and  perspective  views,  devel- 
oped on  large  sheets  of  paper  by  the  artist 
Jules  Guerin  and  others.  These  imposing 


and  Walter  D.  Moody,  managing  director, 
and  imposed  upon  them  the  duty  of  receiv- 
ing this  plan,  and  all  that  goes  with  it,  on 
the  part  of  the  City  of  Chicago;  the  du- 
ties of  the  Commission  being  to  educate  the 
people  of  Chicago  to  an  appreciation  of  its 
benefits  and  see  to  it  that  every  effort  is 
made  to  carry  out  the  scheme.  This  Com- 
mission is  composed  of  more  than  three 
hundred  persons  representing  every  phase 
and  condition  of  Chicago  life.  The  force  of 


THE  PROPOSED  CIVIC  CENTER,  CHICAGO,  SHOW^G   THE  GROUP 
OF  SURROUNDING  BUILDINGS  CROWNED  BY  THE  CENTRAL  DOME 


sheets  are  sufficiently  voluminous  to  cover 
the  walls  of  a  large  picture  gallery.  All  who 
see  them  are  carried  off  their  feet  in  admir- 
ation, but  shake  their  heads  doubtfully  say- 
ing: "It  is  only  a  wonderful  dream;  we 
can  never  see  this  an  actuality."  This  ex- 
tensive array  of  illustrations  was  called  for 
by  Europe  and  made  there  an  extensive  tour 
in  Germany  and  in  England,  everywhere 
exciting  great  enthusiasm. 

Although  so  short  a  time  has  passed  since 
the  publishing  of  the  Chicago  Plan  by  the 
Commercial  Club,  His  Honor  the  Mayor 
has  appointed  a  Chicago  Plan  Commission 
of  which  Charles  H.  Wacker  is  chairman 


this  Commission  has  already  commenced  to 
carry  out  the  plan,  and  it  seems  to  be  beyond 
a  doubt  that  they  will  very  soon  show  plain- 
ly to  all  inhabitants  of  the  city  so  good  an 
example  of  what  they  intend  to  do  as  to 
leave  little  doubt  that  everybody  will  fall 
in  line  and  advocate  the  carrying  out  of 
the  entire  plan. 

Even  now  the  public  school  children  are 
being  systematically  informed,  through 
skilled  lectures  of  the  meaning  of  the  Chi- 
cago Plan.  These  children  will  soon  be 
men  and  women — citizens  with  responsi- 
bilities. 

The  Plan  shows  the  manner  of  opening 


1  34 


"THE     CHICAGO     PLAN  — 


VIEW  LOOKING  SOUTH  OVER  THE  LAGOONS  OF  THE 
PROPOSED  PARK  FOR  THE  SOUTH  SHORE,  CHICAGO 
J'uintcd  for  the  Commercial  Club  by  Jules  Guerin 


new  thoroughfares,  vastly  increasing  the 
ease  of  communication  from  one  part  of  the 
city  to  another,  and  simplifying  the  trans- 
portation of  merchandise  as  well  as  the 
movements  of  people.  It  also  considers  the 
opening  of  breathing  spots,  opportunities 
for  recreation,  to  the  betterment  of  health 
and  physical  conditions,  not  to  overlook 
the  moral  betterment  of  the  denizens  of 
congested  districts. 

It  is  an  easy  process,  when  the  country 
is  flat,  to  lay  out  a  city  with  streets  at  right 
angles  to  each  other.  Occasionally  we  find 
streets  like  Milwaukee  avenue,  Blue  Island 
avenue,  and  North  Clark  street  which  cross 
all  these  rectangles  in  a  diagonal  direction. 
In  other  words  they  go  directly  to  some 
point  near  the  outer  edge  of  the  town,  thus 
avoiding  the  necessity  of  going  around  two 


sides  of  every  square.  The  Plan  provides 
numerous  thoroughfares  shortening  the  dis- 
tance from  point  to  point  and  shortening 
the  trials  of  everyone  who  travels  more 
than  we  can  appreciate,  unless  our  memory 
carries  us  back  to  our  boyhood  and  the  joy 
we  experienced  in  "cutting  across  lots."  The 
time  and  labor  wasted  in  zig-zagging  around 
the  corners  of  all  squares  is  beyond  compu- 
tation. Of  course,  the  gridiron  plan  is 
simple  and  economical  in  the  laying  out  of 
city  lots,  but  access  to  one  of  these  "short- 
cuts" relieves  mightily  the  nerves  of  drivers 
as  well  as  the  pocket  books  of  the  em- 
ployers. 

To  cultivate  patriotism,  the  love  of  the 
city  because  it  is  ours,  there  must  be  some- 
thing impressive  about  the  arrangement  of 
its  parts ;  to  have  some  imposing  spots 


TO    MAKE    CHICAGO    BEAUTIFUL 


135 


awakens  pride  in  all  men.  Therefore,  it  is 
the  consensus  of  opinion,  of  all  architects 
and  students  of  the  subject,  that  every  city 
should  have  a  "Civic  Centre,"  a  public  plaza 
around  which  imposing  public  buildings 
may  be  arranged,  a  capitol  building  of  im- 
posing appearance  which  people  may  see 
and  become  proud  of.  It  is  well  illustrated 
in  the  city  of  Washington  by  the  lofty  dome 
of  our  national  capitol,  and  the  impressive 
proportions  of  the  building  and  the  ample 
wooded  approaches  to  the  same.  Can  Chi- 
cago have  such  a  capitol  building  ?  Certain- 
ly it  can  and  as  every  school  child  meets 
the  picture  of  our  national  centre  with  en- 
thusiasm so  will  the  people  of  Chicago  ad- 
mire their  own  civic  centre.  During  the 
civil  war.  as  marching  regiments  approach- 
ed the  city  of  Washington  and  caught  a 
glimpse  of  the  lofty  dome  of  the  capitol  in 
the  hazy  distance  their  hearts  were  strength- 
ened and  their  tired  bodies  were  restored, 
as  they  thought  of  all  things  which  the 


monument  suggested  to  them.  All  monu- 
ments make  a  powerful  impression  on  the 
minds  of  men  and  women. 

It  has  been  found  that  Congress  street, 
running  east  to  west  is  the  natural  centre 
of  Chicago,  and  Halsted  street  running 
north  and  south  is  another  centre.  The 
Plan  contemplates  the  widening  of  Congress 
street  to  a  fine  thoroughfare  as  far  as  Hal- 
sted street,  and  there  creating  a  plaza  in 
which  shall  be  the  capitol  of  Chicago  with 
its  attendant  public  edifices.  Thus  from 
the  centre  of  Grant  Park  to  this  lofty  dome 
there  will  be  found  the  nucleus  to  all  this 
scheme  of  improved  thoroughfares. 

One  of  the  crying  evils  of  our  present 
condition  is  the  lack  of  proper  communica- 
tion between  the  north  and  south  sides  of 
the  river,  near  its  mouth.  Supposing  that 
Michigan  avenue  is  to  be  the  main  thorough- 
fare of  the  city,  its  usefulness  is  largely 
destroyed,  north  of  Randolph  street,  by  its 
narrowness,  and  the  unendurable  confusion 


PROPOSED  BOULEVARD  Off  MICHIGAN  AVEXUE — VIEW  LOOK- 
ING  NORTH   FROM   A    POINT  EAST   OF    THE    PL'BLIC    LIBRARY 


136 


-THE     CHICAGO     PLAN  — 


STUDY  FOR  THE  DOME  OF  THE  PROPOSED  CIVIC  CENTER 
From  a  Study  by  Janin 


where  the  only  river  crossing  exists  by 
means  of  Rush  street  bridge.  Though  this 
is  one  of  the  roomiest  bridges  it  is  required 
to  transfer  vast  swarms  of  vehicles,  largely 
heavy  goods  wagons,  but  also  every  light 
carriage  or  automobile  coming  from  or  go- 
ing to  the  north  side.  On  one  hand  there 
is  a  serious  hindrance  of  business,  and  on 
the  other  the  ugly  condition  of  driving  a 
handsomely  finished  vehicle,  many  times 
filled  with  ladies,  which  have  to  run  the 
risk  of  catastrophe,  or  at  least  damage,  from 
ponderous  transportation  wagons.  It  is 
too  much  for  human  patience  to  endure. 
Also  there  is  a  similar  congestion  of  sev- 


eral streets,  right  near  the  bridge,  bearing 
east  and  west  traffic  carried  in  ponderous 
vehicles  from  the  steamboat  wharves  to  the 
city  and  from  city  to  steamboat  wharves. 
Of  course,  blockades  are  numerous,  dan- 
gerous and  very  injurious  to  business. 

It  is  proposed  in  the  Plan  to  widen  Mich- 
igan avenue,  through  several  blocks  north 
of  Grant  Park,  from  Randolph  street  north 
to  the  river.  An  ample  slice  will  be  taken 
from  the  buildings  on  the  east  of  the  avenue 
to  secure  this  increase  in  width.  This  will 
still  leave  to  the  buildings  east  of  the  ave- 
nue sufficient  space  for  carrying  on  many 
sorts  of  practical  business.  In  this  widened 


TO     MAKE     CHICAGO     BEAUTIFUL 


137 


street  an  elevated  roadway  will  be  con- 
structed, from  building  line  to  building  line, 
making  two  roadways,  one  below  and  one 
above,  and  both  these  roadways  will  lead 
to  a  new  double-decked  bridge.  To  the 
north  the  same  construction  will  continue 
and  be  carried  to  Chicago  avenue.  Pine 
street  being  widened  to  meet  the  necessity. 
Of  course,  all  heavy  teaming  will  be  car- 
ried underneath  this  elevated  structure  go- 
ing on  the  lower  deck  of  the  bridge,  or 
else  passing  through  to  the  mouth  of  the 
river.  By  this  arrangement  the  serious  con- 
gestion will  be  avoided  and  all  light  vehi- 
cles will  have  a  roadway  to  themselves. 
The  elevated  part  of  the  street  being  set 
apart  for  light  passenger  traffic  will  leave 
the  lower  portion  free  for  either  the  pass- 
age or  the  loading  and  unloading  of  heavy 
merchandise.  It  will  be. an  ideal  locality, 
protected  from  the  weather,  for  loading 
commodities  carried  in  stock.  It  is  not  at 
all  impossible  that  should  the  elevated  road- 
way be  made  beautiful  that  there  might  be 
built  on  it  handsome  hotels  and  retail  stores. 
It  is  a  pleasure  to  state  that  the  property 
owners  hereabouts  have  given  their  hearty 
consent  to  this  arrangement.  The  entire 
length  of  this  elevated  structure  from  Ran- 


dolph street  to  Chicago  avenue  will  be  but 
a  trifle  short  of  one  mile. 

Although  this  plan  to  afford  easy  inter- 
communication between  north  and  south 
seems  so  practical  and  easy  of  accomplish- 
ment, and  is  so  urgently  necessary,  certain 
people,  who  rarely  traverse  this  section, 
object  strenuously  to  spending  money  that 
will  not  benefit  them  personally.  One  of 
the  daily  news  sheets  never  loses  an  oppor- 
tunity to  impress  upon  its  readers  that  the 
double  roadway  will  benefit  no  one  but  the 
owners  of  automobiles  and  aristocrats  in 
fine  vehicles.  This  is  to  forget  the  vast 
array  of  men  and  women  who  come  in  from 
the  west  and  south  of  the  city  to  the  Loop 
to  do  their  day's  work.  They  themselves 
may  never  use  the  bridge,  but  the  customers 
upon  whom  they  depend,  and  cannot  get 
along  without,  do  bring  business  and  money 
to  these  dependent  wage  earners.  If  this 
arrangement  facilitates  the  entry  of  these 
customers  into  the  heart  of  the  city  it  will 
facilitate  the  spending  of  money  and  in- 
crease the  business  for  which  the  wage- 
earners  are  looking.  However,  it  may  be 
delayed  and  embarrassed  by  this  opposition  ; 
but  there  is  hardly  a  doubt  that  it  will  be 
carried  out  as  planned. 


MIDWAY  PLAISANCE,  SHOWING  THE  PROPOSED  WATERWAY  CONNECT- 
ING THE  LAGOONS  OF  WASHINGTON  PARK  WITH  THE  WATERWAY  Of 
THE  PROPOSED  SHORE  PARK  BETWEEN  JACKSON  AND  GRANT  PARKS 


THE     CHICAGO     PLAN  — 


TO     MAKE     CHICAGO     BEAUTIFUL 


139 


So  far  as  we  have  described  the  Giicago 
Plan  it  is  easy  to  see  that  it  has  been  shaped 
largely  by  utility.  Now  we  are  face  to  face 
with  the  study  of  betterments  for  beauty's 
sake.  Beauty  is  of  no  practical  use  except 
as  it  promotes  happiness  and  in  this  case 
happiness  has  for  its  fellow,  health;  and 
these  are  really  good  business  assets.  It 
is  considered  in  the  world  that  a  powerful 
ox  is  just  an  ox.  of  no  earthly  use  except- 


brutal  teamster  who  neglects  his  horses' 
moral  uplift.  If  we  expect  the  dumb  ani- 
mals to  respond  to  decent  treatment  and 
make  themselves  of  more  use  to  us,  what 
shall  be  said  of  human  beings.  Indeed,  it 
is  a  sad  fact  that  many  employers  study 
more  the  upbringing  of  their  horses  than 
to  the  moral  development  of  their  human 
employees.  It  is  much  the  same  with  the 
former  colored  slaves  who  were  tenderly 


THE    CENTER    OF   CHICAGO    LOOKING    WEST   SHOWING 
GRANT  PARK.    THE  HARBOR   AND    THE   CIVIC   CENTER 


ing  to  strain  his  muscles ;  and  being  of  an 
amiable  disposition  with  but  little  ambition 
oxen  are  exceedingly  convenient  to  own. 
However,  if  you  replace  the  oxen  with 
horses  their  happiness  becomes  a  very  vital 
feature.  The  temperament  of  a  good  horse 
has  to  be  studied  and  cultivated  and  they 
must  havt  cheerful  light,  and  sufficient 
warmth,  else  they  become  failures.  Fresh 
air  as  well  as  oats,  affectionate  handling 
and  much  sweet  talk  are  essentials  to  the 
development  of  horse  character.  He  is  a 


cared  for  because  they  were  property,  but 
left  to  self-destruction  after  the  interests 
of  property  rights  had  ceased  to  exist. 

Human  nature  is  generally  tyrannical  and 
even  now  in  these  days  of  universal  free- 
dom, many  thousands  of  people  are  treated 
like  slaves.  Were  their  employers  also 
owners  of  these  flesh  and  blood  individuals 
they  would  strive  harder  to  better  them. 
And  all  this  is  pretty  widely  acknowledged 
in  civilized  countries  as  well  as  some  bar- 
barous lands.  And  thus  we  are  lead  up  to 


I  40 


"THE     CHICAGO     P  L  A  X 


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TO     MAKE     CHICAGO     BEAUTIFUL 


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142 


"THE     CHICAGO     PLAN  — 


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TO     MAKE     CHICAGO     BEAUTIFUL 


43 


the  proposition  that  money  be  spent  in  im- 
proving the  physical  and  moral  character 
of  the  poor  people.  The  greater  the  num- 
ber of  small  parks  the  larger  the  number 
who  can  find  recreation  in  them.  The  larger 
the  number  of  extensive  parks,  where  peo- 
ple may  gather  in  large  numbers,  where  ex- 
tensive sports  may  be  organized,  where 
impromptu  games  can  be  pulled  off,  where 
there  shall  be  swimming  and  boating,  re- 
gattas and  the  like,  sane  excitement  and 
health  giving  variety,  the  happier,  because 
healthier,  will  the  multitude  be. 

There  are  two  places  where  these  con- 
ditions may  be  made  to  exist.  One  is  the 
chain  of  small  parks  following  the  charm- 
ing half-wild  lands  west,  north  and  south, 
outside  the  city,  from  Lake  Michigan  on 
the  north  to  the  lake  on  the  south.  The 
other  is  the  proposed  wooded  island,  to  be 
built  out  into  Lake  Michigan,  parallel  with 
the  shores  and  leaving  a  strip  of  water  from 
Grant  Park  to  Jackson  Park. 

For  very  many  summers  anyone  looking 
for  fresh  air  and  wandering  about  amid  the 
bushes  and  under  the  trees  of  these  wild 
lands  outside  of  the  city,  which  will  pre- 
sently become  small  parks,  may  have  seen 
numberless  groups  having  a  splendid  time, 
staying  all  day,  having  brought  with  them 
a  goodly  supply  of  provisions.  Chicago  in- 
tends to  capture  these  lands  before  the  in- 
trusion of  house  builders  has  entirely  de- 
stroyed their  value.  There  is  very  little 
picnicking  along  the  lake  shore.  Too  many 
wealthy  villa  owners,  to  the  north  of  us, 
have  enclosed  the  lake  shore  for  their  own 
benefit ;  and  the  lake  shore  immediately  in 
front  of  the  city  is  not  as  yet  available  for 
pleasure  grounds.  The  Chicago  Plan  pro- 
poses to  build  a  long  island  all  along  the 
shore  leaving  a  lagoon  of  still  water  be- 
tween the  island  and  the  shore  the  entire 
distance,  as  al-eady  mentioned.  The  waters 
of  Lake  Michigan  are  here  quite  shallow 
and  it  would  be  easy  to  create  here  an  isl- 
and-park, p-rassy,  tree-grown  and  inviting, 
crowded  with  people  watching  the  regattas 


on  the  lagoon,  or  some  other  sport,  or  amus- 
ing themselves  in  their  own  good  way. 
happy  in  the  freshness  and  freedom.  The 
island,  while  supplied  with  good  roads  will 
not  be  laid  out  for  the  sole  benefit  of  auto- 
mobile speeders. 

The  width  of  this  island-park  will  be 
six  hundred  to  a  thousand  feet.  Lake  Mich- 
igan surf  will  pound  noisily  or  lap  tenderly 
its  outer  shore  and  the  long  lagoon  will 
furnish  a  contrast  of  placidity  and  gentle- 
ness. The  island-park  and  lagoon  will  end 
at  the  north  extremity  of  Jackson  Park. 
This  southern  park  fronts  the  lake  with  a 
concave  outline.  It  is  proposed  to  construct 
over  against  it  a  group  of  islands,  which 
will  form  natural  barriers,  to  break  up  the 
waves  of  the  lake  so  that  between  them  and 
the  shore  there  will  be  still  water.  These 
little  islands  will  also  furnish  delightful  ex- 
cursions to  picnickers  who  desire  to  go  sail- 
ing but  must  have  a  destination  in  view. 
So  we  will  find  already  made  for  us  a  de- 
lightful yacht  harbor.  A  quite  similar 
scheme  will  be  the  creation  of  small  isl- 
ands off  the  north  shore  towards  Wilmette ; 
nor  can  anyone  predict  today  what  may  be 
the  final  termination  of  this  scheme.  When 
the  movement  is  once  started  nothing  can 
check  its  progress  as  the  years  roll  by. 

Of  course  there  must  be  bridges,  especial- 
ly on  the  long  lagoon,  at  certain  convenient 
intervals,  and  these  may  be  artistic.  By 
artistic  bridges  it  is  not  necessary  to  under- 
stand highly  decorated  forms.  Carvings 
and  statuary  may  certainly  be  used,  if  we 
like,  but  a  perfectly  plain  bridge,  if  artistic 
in  proportion,  and  charming  in  line,  may  be 
seriously  artistic.  It  is  strange  how  few  de- 
signers of  bridges  have  any  sense  as  re- 
gards beauty  of  line.  There  are  so  many 
bridges  which  demand  our  admiration  for 
their  engineering  virtues,  while  the  men 
who  made  them  had  not  even  the  most  lim- 
ited idea  of  graceful  lines.  It  is  entirely 
possible  that  we  should  be  saved  the  inflic- 
tion of  monstrosities,  because  the  men  in 
charge  of  this  sort  of  structures  are  very 


144 


"THE     CHICAGO     PLAN  — 


— i' — in^*i*  ' — '  " 

<^^ 


-v  y— - 


THE  CHICAGO  PLAN  OF  THE  COMPLETE  SYSTEM  OF  STREET  CIR- 
CULATION, RAILWAY  STATIONS,  PARKS,  BOULEVARD  CIRCUITS 
AND  RADIAL  ARTERIES.  PUBLIC  RECREATION  PIERS — TREAT- 
MENT OF  GRANT  PARK— THE  MAIN  AXIS  AND  CIVIC  CENTER 


enlightened  in  bridgework,  and  might  cul- 
tivate good  taste. 

Perhaps  you  never  thought  of  it,  but 
the  shores  of  Lake  Michigan  are  desper- 
ately monotonous.  The  edge  of  the  land 
touching  the  water,  in  this  neighborhood,  is 
a  clay  bank,  from  which  the  waters  have 
licked  every  suggestion  of  variety.  Look- 
ing at  the  map  we  become  aware  of  the  ex- 
traordinary lack  of  inlets  and  projecting 
capes.  Southern  Lake  Michigan  lingers  in 


the  lap  of  the  prairie  and  the  monotony  of 
the  prairie  has  shaped  the  shore  of  the  lake. 
It  is  not  even  as  dignified  as  the  bound- 
lessness of  the  great  meadow  prairie.  The 
creation  of  these  islands,  small  ones  or  long 
ones,  of  the  yacht  harbor  at  Jackson  Park, 
of  the  yacht  harbor  at  Grant  Park  with  its 
various  adjuncts,  the  recreation  piers  and 
groups  of  islands,  will  call  forth  blessings 
and  hymns  of  praise  from  thousands  in  fu- 
ture generations.  It  will  bring  to  the  mono- 


TO     MAKE     CHICAGO     BEAUTIFUL 


145 


tonous  shore  a  pretty  restlessness,  a  health- 
ful variety ;  and,  faith,  we  need  it. 

Considering  the  difficult}  which  the  city 
of  Chicago  has  had  in  maintaining  bathing; 
beaches  along  the  city  front  these  islands 
and  lagoons  will  solve  the  problem,  and  be 
free  from  interference  by  touch v  land  own- 
ers or  overfastidious  householders.  The 
new  islands  will  be  public  property  and  far 
enough  from  overlooking  windows  to  give 
the  children  very  great  liberty.  Here  small 
boys  and  girls  can  paddle  is  the  still  waters, 
of  the  lagoon,  while  strong  men  and  boys 
can  run  across  to  the  outside  shore  and 
breast  the  roaring  main  of  the  lake. 

By  the  way,  where  is  the  dirt  to  come 
from  for  building  all  these  islands?  Were 
it  a  hilly  country  we  could  dig  away  any 
useless  knob  and  have  the  material  at  once ; 
but  Chicago  is  flat,  it  would  seem  as  if  she 


scarcely  had  dirt  enough  under  her  to  for- 
bid a  lake  incursion  to  swamp  the  city. 
Strange  as  it  may  seem  there  is  a  mass  of 
city  waste  produced  each  year,  which  has 
to  be  thrown  away  at  considerable  expense. 
This  waste  has  already  been  sufficient  to 
raise  Grant  Park  out  of  the  water  and  it  is 
still  overabundant.  It  is  loaded  on  fleets 
of  scows  and  floated  out  to  deep  water  in 
the  lake.  This  procedure  is  already  dan- 
gerously shallowing  certain  waters  in  front 
of  the  city,  and  likely  to  interfere  with  the 
movements  of  the  deep  draft  vessels.  Also 
it  results  in  an  undesirable  enrichment  of 
our  drinking  fluid ;  nor  does  any  alcholic 
dilutions  of  this  enriched  fluid  decrease  the 
danger  from  it.  Aside  from  the  refuse 
from  the  streets  there  is  the  dirt  from  the 
dredgings  of  the  river,  from  the  excavation 
of  the  coming  extensive  subways,  from  the 


VIEW  LOOKING  WEST  OF  THE  PROI'OShD  CIVIC  CENTER 
PLA'/.A.  AND  BUILDINGS  SHOWING  IT  AS  THE  CENTER  OF 
THE  SYSTEM  OF  ARTERIES  OF  CIRCULATION  AND  OF  THE 
SURROUNDING  COUNTRY — FROM  PAINTING  BY  JULES  GUERIN 


i46 


"THE    CHICAGO    PLAN  — 


THE  ART  INSTITUTE,  CHICAGO,  FROM  A  RECENT  PHOTOGRAPH 

— Courtesy    Rand-McNally  Souvenir  Guide  to  Chicago 


deep  cellars  of  sky  scrapers ;  altogether 
quite  enough  to  construct  the  islands.  There 
is  enough  of  this  material  to  make  thirty 
acres  of  islands  each  year.  All  along  the 
outrageously  abused  shores  of  the  great 
drainage  canal  there  still  lie  mountains  of 
barren  earth.  It  would  not  cost  much  to 
transfer  this  earth  from  ugliness  and  to 
build  it  into  beauty.  It  could  all  be  brought 
in  by  water,  even  to  the  Lake  Michigan 
shore. 

It  is  evident  that  with  these  conditions 
the  extensive  fillings  will  cost  but  very  little. 
The  street  and  dredging  refuse  can  be  as 
cheaply  dumped  on  the  long  island  park  as 
to  be  towed  out  to  deep  water.  Also  we 
may  recollect  that  at  the  time  of  the  build- 
ing of  the  World's  Fair  it  was  the  inten- 
tion to  make  those  long  hollows  in  the  Mid- 
way deep  enough  to  receive  the  waters  of 
Lake  Michigan,  thus  forming  a  beautiful 


lagoon.  This  is  to  be  done,  now,  and  the 
large  quantity  of  excavated  earth  from  this 
point  must  be  disposed  of  somewhere :  why 
not  on  the  island-park  in  Lake  Michigan. 

As  yet  nothing  has  been  said  about  the 
increase  of  Chicago's  harbor  facilities. 
Doubtless  the  river  will  remain,  as  it  has 
for  a  great  many  years,  the  principal  scene 
of  the  freight  handling,  and  indeed  it  is  an 
immense  advantage  to  deliver  freight  in 
the  heart  of  the  city  following  the  course 
of  the  river.  But  there  has  been  a  loud  call 
for  wharfage  somewhere  along  the  edge 
of  the  lake.  There  will  be  undoubtedly  some 
sort  of  lake  front  harbor  constructed.  As 
a  general  rule  such  freight  wharves  are 
built  in  haphazard  manner,  growing  much 
as  weeds  grow,  irregularly,  as  seeds  may 
happen  to  find  a  convenient  sprouting  place. 
The  Plan  is  so  schemed  as  to  make  these 
wharves  attractive  as  well  as  perfectly  adap- 


TO     MAKE     CHICAGO     BEAUTIFUL 


'47 


ted  to  the  purpose  for  \v  h  i  c  h  intended. 
At  the  northern  end  of  the  yacht  harbor, 
at  Grant  Park,  exactly  at  the  mouth  of  the 
river,  will  be  a  circle  of  long  piers  forming 
many  slips  radiating  like  spokes.  Here  all 
passenger  and  excursion  steamers  will  find 
berths.  The  point  will  be  easily  accessible 
and  nothing  forbids  the  planting  of  trees 
and  placing  of  seats  about  the  centre  of  this 
circle.  Trees  about  steamboat  landings  are 
by  no  means  an  unknown  luxury  in  the 
world,  but  the  location  as  here  laid  out  will 
be  almost  unequaled  for  convenience  and 
beauty.  There  are  now  a  number  of 
wharves  used  by  lake  steamers,  but  they  are 
arranged  without  svstem  and  not  conve- 
nient. From  the  mouth  of  the  river  north- 
ward as  far  as  Chicago  avenue  there  is  a 


great  space  of  new  made  land,  and  there 
is  already  a  vigorous  call  for  a  well  laid- 
out  row  of  piers  to  be  used  by  freight  ships 
for  the  landing  of  merchandise.  It  is  de- 
clared by  those  who  have  studied  the  sub- 
ject that  here  can  be  furnished  all  the 
wharfage  that  Chicago  will  need  for  a  great 
many  years. 

Of  important  features  in  this  connection 
no  mention  has  been  made  of  two  long, 
slender  recreation  piers  projecting  about 
a  mile  out  into  the  w  a  t  e  r.  One  of 
these  is  to  be  built  at  Chicago  avenue,  the 
other  at  Twenty-second  street,  the  space 
between  them  being  nearly  two  miles,  and 
these  will  be  equi-distant  from  the  centre 
of  Grant  Park.  These  piers  will  bear  grass 
and  trees  and  seats  and  shelters,  all  for  the 


A  8SCT1OK  OF  MICHIGAN  AVENUE  AND  ADAMS  STREET  SHOWING 
ORCHESTRA  HALL — THE  PULLMAN  BUILDING — THE  PEOPLED  GAS 
LIGHT  AND  COKE  CO.'S  BUILDING— CORNER  OF  ART  INSTITUTE 

— Courtesy    Rantl-McNally  Souvenir  Guide  to  Chicago 


I48 


"THE     CHICAGO     PLAN 


SCENE    ON  MICHIGAN   AVENUE   FACING    GRANT  PARK 
THE    BLACKSTONE    HOTEL    SHOWN    IN    FOREGROUND 


— Courtesy   Rand-McNally 
Souvenir  Guide  to  Chicago 


convenience  of  the  ever  surplus  population ; 
a  retreat  from  the  heat  of  the  city  and  a 
place  to  revive  one's  self  in  the  lake  breezes. 
At  the  extremity  of  each  of  the  piers  a  light- 
house will  send  out  its  friendly  glow  to  the 
approaching  mariner,  and  these  long  arms 
will  fend  the  incoming  waves  in  tempestu- 
ous weather.  All  these  beautiful  improve- 
ments do  seem  like  a  dream  of  fancy,  but 
we  have  already  seen  a  World's  Fair  built 
in  Jackson  Park,  a  n  d  we  called  that  a 
dream,  which  it  was,  because  fragile  and 
temporary.  This  will  be  a  similar  outcome 
of  a  fertile  fancy,  a  dream  to  enrich  our 
waking  hours  and  stay  with  us  many  live- 
long days. 

The  reason  for  placing  these  two  piers 
at  Chicago  avenue  and  Twenty-second 
street,  equi-distant  each  from  Grant  Park, 
is  easily  seen  in  examining  the  maps  in  the 
plan.  The  street  planning,  as  has  been 
said,  contemplates  a  widened  avenue  along 


Congress  street  west  to  the  civic  centre, 
at  Halsted  street.  In  the  same  manner 
Twenty-second  street  is  about  to  be  widened 
directly  west  to  Halsted  street  and  beyond. 
From  the  crossing  of  these  two  streets 
with  Halsted  street,  diagonal  streets  are 
carried  westward,  these  crossing  a  mile 
west  of  the  civic  centre.  These  are  a  part 
of  the  diagonal  system  facilitating  inter- 
course. In  the  same  manner  nine  radiating 
streets  are  thrown  out  like  the  spokes  of  a 
wheel,  the  civic  centre  being  the  hub.  Some 
of  these  are  drawn  to  the  eastward,  some 
to  the  north,  the  west  and  the  south,  in 
regular  radiation.  It  will  not  take  much 
study  of  the  map  to  make  plain  the  extra- 
ordinary completeness  of  this  system  of 
diagonal  streets. 

That  there  should  be  a  series  of  wide 
streets  from  the  lake  front  westward  is  evi- 
dent to  anyone  who  studies  the  matter.  In 
order  to  make  a  commencement  of  the 
carrying  out  of  the  Plan,  a  good  mam- 


T  O     MAKE     CHICAGO     BEAUTIFUL 


149 


changes  will  be  made  at  the  point  of  con- 
tact at  Twelfth  street  with  Michigan  ave- 
nue at  the  southern  edge  of  Grant  Park,  at 
which  point  a  very  considerable  rearrange- 
ment is  about  to  be  undertaken.  The  first 
step  toward  this  will  be  the  widening  of 
Twelfth  street  west  to  Halsted  street,  mak- 
ing it  a  combination  of  business  street  and 
pleasure  drive.  This  is  now  arranged  in 
detail  and  will  be,  beyond  a  doubt,  under- 
taken directly.  The  Plan  contemplates  the 
placing  of  as  many  railway  terminals  as 
possible  touching  on  the  south  side  of 
Twelfth  street.  It  is  expected  that  the  num- 
ber of  buildings  called  for  will  occupy  a 
considerable  .space  on  this  street.  Even  the 
Illinois  Central  station  will  be  on  the  south- 
ern edge  of  Twelfth  street. 

In  rearranging  this  land  immediately 
south  of  Grant  Park  a  most  interesting  bit 
of  history  was  enacted.  Since  the  decisions 
of  courts  forbid  the  building  of  the  Field 
Museum  in  the  centre  of  Grant  Park,  east 
of  the  Illinois  Central  Railroad,  the  Mu- 
seum authorities  have  negotiated  with  the 
South  Park  Commissioners  for  a  site  in 
Jackson  Park  and  the  arrangements  have 
been  consummated.  However,  though  it 
may  have  been  the  part  of  wisdom  to  ex- 
clude the  Museum  from  Grant  Park,  it  has 
been  sorely  regretted  that  the  Museum 
must  be  banished  to  a  point  so  far  from 
Chicago's  centre.  To  still  bring  the  Field 
Museum  toward  the  centre  of  the  city  has 
been  a  subject  for  study  these  many 
months. 

It  so  happened  that  Mr.  Chas.  L.  Hutch- 
inson.  President  of  the  Art  Institute,  desir- 
ing to  enlarge  the  art  building,  proposed 
that  there  be  carried  over  thf  Illinois  Cen- 
tral Railroad  tracks  a  wide  gallery  bridge, 
to  give  access  to  a  new  building  on  the  east 
side  of  the  tracks.  In  a  long  talk  with 
John  Barton  Payne,  President  of  the  South 
Park  Commission,  in  regard  to  the  exten- 
sion of  the  Art  Institute,  the  placement  of 
buildings  about  Grant  Park  was  discussed 
in  all  its  features.  Among  other  things 


Mr.  Hutchinson  suggested  that  if  the  piece 
of  land  facing  Twelfth  street  and  looking 
northward  through  all  of  Grant  Park,  now 
occupied  by  the  Illinois  Central  Railroad 
station,  could  be  vacated,  it  would  form  a 
superb  site  for  the  Field  Museum,  built  fac- 
ing north  and  overlooking  the  entire  open 
ground.  Thus  Mr.  Hutchinson  invented  the 
really  practical  solution  of  the  difficulty. 
This  would  be  a  superb  location  for  the 
Museum  building,  infinitely  better  than  in 
the  centre  of  Grant  Park. 

These  two  gentlemen  were  so  impressed 
with  the  thought  of  changing  this  part  of 
the  ground  that  they  at  once  consulted  the 
President  of  the  Illinois  Central  Railroad, 
Charles  H.  Markham,  whom  the}'  found 
remarkably  broad-minded  and  in  every  wav 
a  delightful  gentleman  with  whom  to  dis- 
cuss improvements.  It  was  proposed  in 
these  consultations  to  tear  down  the  still 
new  and  valuable  station  of  the  railroad, 
thus  vacating  the  land,  to  rebuild  the  station 
on  the  southwest  corner  of  Michigan  ave- 
nue and  Twelfth  street.  Also  to  do  some 
filling  and  make  other  changes  in  the  shape 
of  the  land,  so  that  the  Museum  might 
have  ample  opportunity  to  erect  its  new 
building  here  instead  of  in  Jackson  Park, 
and  the  surroundings  could  be  made  beauti- 
ful with  trees  and  ornamental  features.  The 
Illinois  Central  Railroad  was  given  the 
privilege  to  widen  its  right  of  way,  by  fill- 
ing out  into  the  lake,  in  compensation  for 
its  surrender  of  the  land  to  be  occupied  by 
the  Museum.  The  city  was  to  be  approach- 
ed regarding  the  vacating  of  certain  streets 
and  alleys  at  this  point,  and  other  essential 
details.  When  this  carefully  detailed  plan 
was  placed  before  Mayor  Harrison,  his 
Honor  at  once  perceived  its  virtue  and  gave 
to  it  a  cordial  approval.  At  the  present 
writing  the  proposition  is  in  the  hands  of 
the  Chicago  City  Council.  All  its  legal  and 
practical  bearings  are  being  carefully  stud- 
ied and  it  seems  hardly  possible  that  there 
should  be  any  failure. 

This  appears  to  be  one  of  the  most  extra- 


THE    CHICAGO    PLAN  — 


OLD  FORT  DEARBORN.  m« — FORMERLY  SITUATED  OX  THE 
SOUTH  SIDE  OF  THE  CHICAGO  RIVER  AT  MICHIGAN  AYE. 
AND  RIVER  ST.,  SOUTH  APPROACH  TO  RUSH-ST.  BRIDGE 

— Courtesy    Ranri-Slrlfally  Souvenir  Guide  to  Chiraflu 


ordinary  illustrations  of  the  workings  of 
many  minds,  all  uniting  in  the  common  pur- 
pose, putting  behind  them  many  temptations 
to  secure  personal  advantage.  Full  of  prac- 
tical common  sense  these  four  parties,  the 
Museum,  the  Park  people,  the  Railway 
managers  and  the  City  fathers,  and  moved 
by  a  desire  to  do  the  right  thing,  actually 
united  each  to  help  the  other ;  is  not  this 
a  record  to  be  proud  of.  The  accompany- 
ing map  at  the  point  where  Twelfth  street 
impinges  on  Grant  Park  explains  itself ; 
the  beautiful  colonnaded  facade  of  the  Mu- 
seum will  form  the  southern  boundary  of 
Grant  Park.  An  ornate  railroad  station 
will  be  built  over  against  the  southwest  cor- 
ner of  Grant  Park,  and  all  that  select  bit 
of  land  will  be  made  beautiful  and  inviting. 
It  may  be  asked :  "Will  not  this  new 
piece  of  land  become  a  part  of  Grant  Park 
and  will  not  the  prohibition,  enforced  by 
Montgomery  Ward  against  building  upon 
Grant  Park  destroy  this  delightful  pro- 


ject ?"  The  prohibition  regarding  the  build- 
ing on  Grant  Park  ceases  at  Twelfth  street. 
While  this  new  site  for  the  Museum  will 
in  reality  form  an  addition  to  Grant  Park, 
in  the  eyes  of  the  law  it  will  be  a  separate 
property.  Also,  it  seems  fortunate  that  the 
people  will  be  allowed  to  create  a  stadium 
where  it  was  originally  proposed  to  place 
the  Museum,  because  Montgomery  Ward 
is  really  very  liberal  in  his  feeling ;  and  be- 
cause the  stadium  will  be  placed  in  one 
of  the  sunken  gardens,  and  will  be  a  series 
of  peristyles  of  no  great  height. 

This  very  earnest  and  n  o  w  promising 
project  for  the  betterment  of  Chicago  has 
an  interesting  history.  Some  fifteen  years 
ago  the  celebrated  architect.  Daniel  H. 
Burnham,  commenced  to  talk  seriously, 
both  in  private  and  public,  of  improving 
the  waterfront  of  Chicago.  He  even  went 
so  far  as  to  lay  out  on  paper  the  form  of 
the  long  island-park  and  the  enclosed  la- 
goon between  Grant  Plark  and  Jackson 


TO     MAKE     CHICAGO     BEAUTIFUL 


Park.  He  showed  these  plans  to  many  peo- 
ple and  in  many  places.  It  was  looked  at 
with  a  dreamy  interest  by  many  important 
people  who  admired,  but  did  not  act. 

Mr.  Charles  E.  Norton,  now  of  the  First 
National  Bank  of  Xew  York  and  recently 
in  a  cabinet  position  in  Washington,  was 
at  that  time  President  of  the  Commercial 
Club  and  he  lost  no  opportunity  to  interest 
the  club  members  and  others  in  the  scheme 
pushing  it  forward  very  materially.  In  the 
meantime,  Edward  Burgess  Butler,  the  well 
know  n  merchant,  became  warmly  inter- 
ested and  caused  to  be  formulated  a  legis- 
lative enactment  for  presentation  at  Spring- 
field, giving  the  South  Park  Commissioners 
the  right  to  acquire  certain  improved,  or 
submerged  shore  lands  for  park  purposes : 
providing  for  the  payment  therefor  and 
granting  such  commissioners  certain  rights 
and  powers,  and  to  riparian  owners  certain 
rights  and  titles.  This  received  legislative 
approval  and  was  signed  by  Governor 
Deneen  in  1907.  Mr.  Butler  did  not  suc- 


ceed in  procuring  this  enactment  without 
a  hard  struggle  and  many  personal  appeals, 
because  he  found  at  Springfield  so  mild  a 
faith  in  the  possibility  of  making  any  use 
of  this  right,  and  because  of  very  great  in- 
difference to  the  whole  subject.  Even  Gov- 
ernor Deneen,  liberal  man  as  he  is,  refused 
for  a  long  time  to  be  identified  with  any 
such  park  schemes.  But  when  the  Gover- 
nor's signature  was  finally  signed  to  the 
document  the  way  was  opened  for  the  de- 
velopment of  the  Plan  in  the  way  we  are 
trying  to  describe.  It  is  due  to  at  once  give 
the  greatest  credit  to  his  Honor,  Mayor 
Harrison,  to  the  chairman  of  the  Harbors 
Committee,  Alderman  Long,  and  to  Corpor- 
ation Counsel  Sexton.  Though  he  has  kept 
himself  in  the  background,  Stanley  Field, 
President  of  the  Field  Museum  Board,  has 
given  his  enthusiastic  support  on  the  part  of 
the  Museum.  Hon.  Franklin  MacYeagh. 
now  Secretary  of  the  Treasury  at  Wash- 
ington, stirred  up  the  Commercial  Club  on 
this  subject,  in  1901,  as  well  as  Charles  D. 


MICHIGAN  AVEXVf!  FROM  PARK  ROW  IX 


— Original  Owned  by  The  Chicago  Historical  Society 


1 52 


THE     CHICAGO     PLAN  — 


1 

o 


a 

06 

g 
o 

i! 


TO     MAKE     CHICAGO     BEAUTIFUL 


153 


Norton,  of  the  Merchants  Club,  which  later 
became  merged  in  the  Commercial  Club, 
and  Frederick  A.  Delano  worked  with  the 
others  for  the  City  Plan.  Charles  H.  Wack- 
er,  Chairman  of  the  Chicago  Plan  Commis- 
sion, and  Walter  D.  Moody,  the  General 
Manager,  are  at  this  moment  energetic  pro- 
moters of  this  improvement. 

In  order  to  make  clear  to  us  the  wonder- 
ful improvements  which  have  come  to  Chi- 
cago since  the  days  of  its  youth,  let  us  pic- 
ture the  condition. of  the  baby  city  in  1834 
when  there  were  ten  buildings  along  the 
river  side  near  its  mouth,  if  we  may  use  the 
word  buildings  as  applied  to  a  little  series 
of  one-story  huts  of  the  most  temporarv 
construction,  and  two  meager  affairs  with 
a  second  story,  the  commercial  activities 
represented  by  a  prairie  schooner  and  three 
yoke  of  oxen,  its  lake  flotilla,  several  small 
canoes  and  its  traveling  facilities  one  horse- 
man. Look  at  the  present  Michigan  avenue 
as  it  was  in  1864.  There  we  see  a  rough 
lake  shore  and  the  militia  holding  a  drill 
party,  when  there  was  no  Grant  Park ;  the 
present  beautiful  street  a  mere  wagon  track, 
when  the  Illinois  Central  Railroad  sent  its 
trains  out  of  the  old  three-arched  stone  de- 
pot, and  "the  surface  south  to  Park  Row 
was  a  bit  of  accidental  lagoon  with  unkempt 
edges. 

This  entire  surface  was  neglected,  ugly 
and  of  no  use  to  anybody.  We  are  pre- 
senting pictures  of  Michigan  avenue  as  it 
appears  today.  The  old  ragged  lagoon  is 
now  a  part  of  Grant  Park ;  where  the  old 
cart  tracks  bordered  the  meager  buildings 
is  now  a  wonderfully  pleasing  city  front. 
Anyone  familiar  with  the  city  can  pick  out 
in  this  picture  various  superb  structures 
mounting  eighteen,  twenty  and  twenty-two 
stories  in  the  air.  The  speed  with  which 
these  improvements  have  been  made  is  a 
matter  for  astonishment.  Indeed  it  is  but 
a  very  short  time  since  Grant  Park  was  fill- 
ed with  earth,  and  but  yesterday  the  avenue 
itself  was  in  a  shocking  condition.  Those 
who  have  watched  the  widening  of  that 


boulevard,  the  creation  of  its  broad  side- 
walks, have  daily  wondered  at  the  speed  of 
it  all.  Indeed  the  improvements  are  still 
going  on  so  rapidly  that  we  cannot  keep 
pace  with  them,  and  the  earth  is  scarcely 
yet  solidified  under  the  new  pavements.  The 
buildings  which,  but  a  short  time  ago,  were 
disreputable  have  been  replaced  by  mag- 
nificent structures  as  if  by  magic.  The  ill- 
paved  boulevard,  where  no  man  guided  a 
pleasure  vehicle,  if  he  could  go  anywhere 
else,  suddenly  became  a  splendid  promen- 
ade, so  abundantly  patronized  by  handsome 
automobiles  as  to  require  watchfulness,  dis- 
cretion and  alertness,  aided  by  many  effi- 
cient crossing  policemen,  in  order  to  cross 
from  side  to  side. 

However,  there  are  strange  incongruities 
still  remaining.  If  the  City  Plan  is  carried 
out  in  ten  years,  and  we  at  that  time  study 
a  photograph  of  the  north  end  of  Michigan 
avenue  and  the  surface  of  Grant  Park  as 
they  now  are,  we  will  find  it  hard  to  believe 
that  such  conditions  as  now  exist  could  have 
been  true.  The  picture  of  this  region  taken 
in  1864  will  scarcely  astonish  us  more  ten 
years  from  now  than  the  picture  of  forty 
years  ago.  There  are  still  four  blocks 
where  Michigan  avenue  foots  at  the  river 
which  narrow  the  avenue  until  it  is  so  con- 
gested as  to  delay  business  and  menace  the 
safety  of  everybody.  It  is  directly  beside 
the  spot  where  the  old  three-arched  station 
stood.  So  deplorable  is  this  location  and  so 
beautiful  will  it  be  when  the  Plan  is  car- 
ried out,  that  we  again  compare  the  old  pic- 
tures with  the  new. 

In  comparing  the  buildings  of  Chicago  as 
they  are  growing  today  with  the  old  ones 
we  present,  showing  the  corner  of  Clark 
and  South  Water  streets  in  1864,  we  can 
see  the  nature  of  the  ambitious  structures 
of  that  day,  and  very  promising  they  were. 
The  street  seems  in  the  picture,  to  be  very 
crowded  with  people  and  traffic.  The 
buildings  on  South  Water  street  are,  gen- 
erally speaking,  no  better  now  than  they 
were  then.  But  the  seemingly  lively  busi- 


1  54 


THE     CHICAGO     PLAN  — 


CORNER  CLARK  AND  SOUTH  WATER  STREETS  IN  186', 

— Original  Owned  b.u  The  Chicago  Historical  Society 


ness  going  on  about  them  at  that  time  has 
given  place  to  the  congestion  which  every- 
body can  see  of  a  forenoon  today.  I  am 
not  sure  that  there  is  any  scheme  in 
the  Plan  for  a  new  market,  but  we 
will  have  one  some  fortunate  day  in  the 
future ;  because  the  food  market  must 
keep  pace  with  the  rest  of  the  city.  In  the 
picture,  the  five  story  buildings  seem  bor- 
dered on  a  very  wide  street.  How  narrow 
would  it  look  were  it  lined  with  sky  scrap- 
ers. For  the  sake  of  this  interesting  sub- 
ject we  present  a  bird's  eye  view  of  the 
Chicago  river  as  it  appears  in  1846.  Then 
there  was  little  West  Side  and  the  city  prop- 
er lay  between  the  river  and  south  to,  per- 
haps, Jackson  Boulevard.  It  then  was  like 
an  open  village.  On  the  north  side,  the 
country  was  like  a  heavily  arbored  park 
with  a  certain  number  of  excellent  resi- 
dences scattered  about. 

The  Illinois  Central  still  used  its  old  via- 
duct over  the  water  and  there  were  eight 


bridges  crossing  the  stream,  only  two  of 
them  connecting  the  north  and  south  sides. 
It  was  a  haphazard,  big  village  and  it  has 
remained  haphazard  in  the  way  it  happened 
to  grow.  It  is  by  such  comparisons  as  these 
that  we  comprehend  what  Chicago  has  been 
and  by  the  stud}-  of  the  Plan  what  it  may 
become.  Our  illustration  here  of  the  pro- 
posed elevated  "connecting  link"  shows  the 
Public  Library  on  the  extreme  left  and  a 
magnificent  array  of  buildings  both  right 
and  left ;  also  two  magnificent  monument* 
in  the  centre  of  the  thoroughfare  just  be 
fore  arriving  at  the  proposed  two-ston 
bridge.  If  this  appearance  of  magnificence 
looks  like  foolishness  to  people  of  little 
imagination  it  may  be  replied  that  it  is  no 
more  wonderful  than  the  development  of 
Michigan  avenue  as  we  now  see  it,  all 
created  in  about  ten  years.  To  be  sure  there 
are  no  fine  monuments  on  either  side  of 
Michigan  avenue,  but  if  we  oversleep  some 
morning  we  may  awaken  to  find  them  al- 


TO     MAKE     CHICAGO     BEAUTIFUL 


155 


ready  built.  Chicago  has  so  proved  her 
ability  to  better  herself  rapidly  that  we  can 
well  believe  that  anything  may  happen. 

Among  our  illustrations  is  a  delightfully 
elaborated  scheme  for  beautifying  the  spot 
where  the  north  and  south  branches  of  the 
river  unite,  forming  a  basin  of  very  consid- 
erable size.  It  illustrates  how  the  banks  of 
the  Chicago  river  may  be  made  beautiful 
by  a  raised  embankment  for  ordinary  com- 
ers and  goers,  and  a  lower  level  immedi- 
ately by  the  water  where  commerce  operates 
unobstructedly  and  merchandise  passes 
through  the  numerous  arches  to  the  base- 
ments of  the  buildings.  This  also  illus- 
trates the  manner  of  beautifying  a  bridge. 
It  is  here  represented  as  a  fixed  bridge,  but 
were  it  a  lift  bridge  its  appearance  would 
scarcely  be  changed.  Should  anyone  ob- 
ject to  the  grandiose  buildings  represented 
here  and  cry  out  "impossible."  we  would  say 
to  him :  "Look  and  see  Chicago  doing  this 
same  thing  every  day  of  the  year  and  think 


in  how  short  a  time  the  whole  aspect  of  the 
loop  section  has  been  changed  since  we  went 
to  lunch  yesterday." 

It  is  hardly  necessary  to  explain  the  view 
looking  north  on  Michigan  avenue  from  the 
new  Blackstone  Hotel,  but  the  picture  is 
presented  to  bring  the  facts  of  the  improve- 
ment of  Michigan  avenue  distinctly  before 
the  public.  As  this  view  is  of  the  west  side 
of  the  avenue  the  Art  Institute,  on  the  right 
hand,  does  not  appear  but  we  can  easily 
imagine  its  effect  on  the  landscape.  The 
view  of  Michigan  avenue  and  Adams  street 
shows  us  the  south  end  of  the  Art  Institute 
opposite  the  enormous  and  elaborately  fin- 
ished Gas  Light  Company's  building  and, 
on  the  left,  the  Pullman  Building  and  the 
Orchestra  Building.  To  compare  this  array 
of  buildings  with  the  neglected  land  beside 
the  old  pool  is  certainly  a  great  recom- 
mendation for  city  improvement,  although 
it  is  but  a  beginning. 

In    studying  the   bird's-eye   sketch    view 


GREAT  CENTRAL  DEPOT  GROUNDS,  WITH  ENTRANCE  TO  HARBOR,  ABOUT  18K', 

— Original  Owned  by   The  Chicago  Historical  Society 


156 


-THE     CHICAGO    PLAN- 


so  skilfully  rendered  by  the  artist,  Jules 
Guerin,  and  comparing  it  with  the  map  of 
the  supposed  island-park,  we  have  a  still 
clearer  idea  of  the  situation.  In  the  ex- 
treme lower  corner  the  round  point  with 
radiating;  wharves  to  be  set  aside  for  lake 
going  passenger  and  excursion  steamers 
immediately  joins  the  great  series  of 
wharves  for  the  benefit  of  freight  boats  ex- 
tending northward  to  Chicago  avenue.  On 
the  right  is  Grant  Park  and  in  its  center, 
just  at  the  edge  of  our  picture,  may  be  seen 
the  proposed  Field  Museum  ;  which,  how- 
ever, can  never  be  built  there.  The  Field 
Museum,  as  now  proposed,  can  be  placed 
close  by  the  extreme  far  away  corner,  and 
the  island-park  with  its  bordering  lagoon 
and  its  recreation  pier,  stretch  themselves 
far  away  to  the  south.  This  bird's-eye  view 
and  the  plan  of  the  same  should  be  carefully 
compared.  There  are  many  buildings  shown 
in  Grant  Park  which,  as  represented,  can 
never  exist,  because  of  the  court  decisions 
determining  the  sacred  character  of  park 
soil.  As  has  been  said  the  prohibition  ceases 
at  Twelfth  street,  the  southern  boundary  of 
Grand  Park.  We  can  build  as  we  like  south 
of  Twelfth  street. 

In  addition  to  the  proposed  improvements 
for  the  city  proper,  the  Calumet  area  is 
kept  in  mind,  the  reclamation  of  the  low 
lands  to  the  south  of  Lake  Calumet,  also 
to  surround  this  water  by  a  belt  of  woods. 
Essential  driveways  through  this  territory, 
connecting  with  the  center  of  the  city,  are 
arranged  for,  and  other  betterments  to  re- 
lieve the  sordid  practicality  of  this  center  of 
industry. 

The  spirit  of  improvement  is  not  confined 


to  Chicago.  There  are  fifty-eight  cities  in 
America  cultivating  plans.  Some  of  them 
contemplate  radical  alterations ;  civic  cen- 
ters, parks  and  means  of  communication. 
Also,  Berlin,  Vienna,  London  and  Paris  are 
about  to  make  secure  their  surrounding 
woodlands,  and  save  them  for  the  free  use 
of  the  people.  Berlin  has  about  the  popu- 
lation of  Chicago,  and  is  rapidly  growing. 
She  proposes  to  reserve  seventy-five  thous- 
and acres  of  outlying  forest  and  to  propose 
is  to  do,  in  Berlin.  Chicago's  present  and 
actual  park  area  is  3,200  acres ;  the  new 
Plan  will  immensely  increase  this.  Our  city 
is,  in  number  of  inhabitants,  the  second,  but 
in  park  area  the  seventh. 

Can  these  magnificent  schemes  ever  be- 
come realities  ?  Certainly  they  can.  While 
we  look  for  opposition  and  retarding  cir- 
cumstances, it  seems  quite  impossible  that 
Chicago  will  persist  in  blinding  her  eyes  to 
these  necessities.  Let  us  be  patient !  Paris 
took  fifty-seven  years  to  carry  out  the 
Housemann  plan,  but  continuously  worked 
at  it,  though  delayed  by  the  change  from 
imperial  to  republican  forms  of  govern- 
ment. These  improvements  have  proved  of 
enormous  financial  benefit ;  so  that  the 
Chamber  of  Deputies  has  voted  an  expend- 
iture of  $180,000,000  more,  in  order  to 
work  for  fifteen  more  years,  at  another 
scheme  of  betterment.  Berlin  is  planning  a 
project  which  will  require  sixty  years  for 
its  completion.  Remember  that  Berlin  is 
now  the  same  size  as  Chicago,  and  expects 
to  count  its  people  as  numbering  10,000,000 
in  the  not  distant  future.  History  proves 
that  such  good  works  are  a  paying  invest- 
ment. 


T  O     MAKE     CHICAGO     B  E  A  L' T I  F  U  L 


••THE  <:KEAT  LAKES" 

By  Lorario  Taft 


THE  MIDWAY  PLAISANCE  BEAUTIFIED 
As  Suggested  by  Loratlo  Taft 


A    Sculptor's    Dream    of    the    Chicago 

Beautiful 

By    GISELLE    D'UNGER 


CIVIC  BEAUTY  is  an  attribute  that 
signalizes  the  advance  of  civiliza- 
tion, and  the  development  of  a  city 
depends  largely  on  the  impersonal  interest 
that  dominates  the  enthusiasm  which  calls 
forth  that  generous  expenditure  of  thought, 
time,  talent  and  gold  needful  for  such  de- 
velopment. Unselfish  devotion  to  a  worthy 
cause  is  heroic,  and  the  building  of  a  city 
beautiful  is  an  heroic  undertaking,  which 
lives  forever  in  the  annuals  of  history.  The 
stern  necessities  of  humanity  are  some- 
times permitted  to  overshadow  the  ideal, 
but  not  for  long ;  and  the  natural  beauties 
of  a  new  and  unexplored  country  are  sac- 
rificed frequently  by  the  absolute  practical 
methods  which  the  pioneer  must  employ  to 
meet  existing  conditions.  Xot  for  long  is 


this  refining  process  undergoing  the  rigors 
of  transforming  crude  idealism  into  ideal 
beauty,  as  Time  is  measured  in  the  abstract ; 
out  of  the  fiery  furnace  of  experience,  the 
wonderful  charm  of  the  ideal,  of  beauty 
perfect,  pure  and  inspiring,  emerges  like  a 
vision  to  grow  and  stimulate  all  mankind 
from  the  youngest  to  the  oldest,  the  intel- 
lect cultured  or  uncultured,  for  beauty  is 
no  respecter  of  persons.  She  lifts  her  veil 
and  draws  to  her  embrace  all  humanity ; 
protecting,  consoling,  developing,  encour- 
aging, as  an  inspiration  that  reflects  the 
spirit  of  past  glories,  present  opportunities, 
and  a  brilliant  future  for  that  municipality 
that  ceases  from  the  daily  grind  to  look  into 
that  future  for  which  it  is  responsible. 
Benjamin  Franklin  Ferguson,  practical 


A     SCULPTOR'S    DREAM     OF     CHICAGO     B  E  A  U  T I  F  I' L     159 


and  familiar  with  the  grandeur  of  the 
mighty  temples  of  the  forest,  where  the 
spires  of  Nature's  Cathedral  rise  above  the 
aisles  of  verdure,  whose  transcendent 
beauty  varies  each  hour  of  the  day  or  night, 
as  the  light  of  the  sun,  moon  and  stars 
penetrates  to  the  earth  which  nourishes 
their  roots,  must  have  realized  the  wonder- 
derful  power  of  beauty  upon  man,  when  he 
left  one  million  dollars  for  the  erection  and 
maintenance  of  monuments  of  stone,  gran- 
ite, or  bronze  in  the  parks,  along  the  boule- 
vards, and  other  public  places,  within  the 
city  of  Chicago,  commemorating  worthy 
men  and  women  of  America,  or  important 
events  of  American  history. 

Here  was  a  practical  illustration  of  the 
value  of  civic  beauty,  not  only  as  an  asset 
for  civilization,  but  as  an  asset  for  com- 
merce. Mr.  Ferguson,  an  old  and  respected 
business  man  of  Chicago,  died  April  10, 
1905,  and  after  providing  certain  small  be- 
quests to  relatives  and  some  institutions,  he 
committed  to  the  Northern  Trust  Com- 
pany all  his  estate,  real,  personal  or  mixed, 
in  trust  to  be  known  as  the  B.  F.  Ferguson 
fund,  and  entirely  and  exclusively  to  be 
expended  by  it.  under  the  direction  of  the 
Board  of  Trustees  of  the  Art  Institute  of 
Chicago,  for  the  statuary  and  monuments 
previously  mentioned ;  the  plans  and  de- 
signs for  such  statuary  and  monuments,  and 
the  location  of  the  same,  to  be  determined 
by  the  Board  of  Trustees  of  the  Art  Insti- 
tute of  Chicago.  The  interest  accruing  on 
the  amount  of  the  estate  after  annuities, 
bequests,  etc.,  are  paid,  nets  a  handsome 
sum,  upwards  of  forty  thousand  dollars 
annually. 

This  remarkable  and  unexpected  bequest 
was  a  revelation.  The  first  commission 
was  given  to  Lorado  Taft.  the  sculptor, 
whose  "Fountain  of  the  Great  Lakes"  had 
proved,  when  exhibited,  that  the  psycholog- 
ical moment  had  arrived  for  the  beautify- 
ing the  Lake  front.  The  sculptor  has 
evolved  a  graceful  concept,  in  which  flow- 
ing lines  of  drapery,  associated  with  the 


BEXJAX1X  FRAXKLIX  FERGUSON  * 

Painted  by  Ernest  L.  Ipsen 

music  of  the  waters  from  uplifted  basins, 
conveys  a  harmony  and  delicacy  which  is 
delightful  to  observe.  There  are  five 
lightly  draped  women,  so  arranged  as  to 
suggest  the  chain  of  lakes,  each  holding  a 
basin  from  which  water  pours,  commencing 
at  Superior  and  carried  in  proper  order, 
from  basin  to  basin,  until  Ontario  spills  the 
stream  into  the  great  beyond.  This  foun- 
tain will  be  located  in  Grant  Park,  south 
of  the  Art  Institute. 

When  the  Field  Museum,  and  the  Crerar 
Library  (possibly)  are  located  south  of 
Grant  Park,  splendid  examples  of  archi- 
tecture that  even  the  Greeks  would  admire, 
the  standard  of  beauty  for  the  South  Shore 
Plan,  will  be  established.  It  is  that  more 
distant  section  of  beauty,  that  is  destined 
to  connect  the  South  Shore  at  Jackson 
Park  with  the  Midway  Plaisance  leading 
to  Washington  Park,  that  thrills  the  heart 
of  all  who  look  upon  that  broad  stretch  of 
landscape,  an-d  recall  the  "White  City"  of 
the  past.  The  magic  beauty  of  that  Dream 


I  60 


A     SC  U LP  TOR'S    D  R  E  A  M     O  F 


SKETCH  MODEL  OF  THE  FOUNTAIN  OF  CREATION 
By   Lorado    Taft 


City  has  mercifully  obliterated  the  desecra- 
tion of  the  Midway  and  to  Lorado  Taft  is 
Chicago  indebted  for  the  artistic  sugges- 
tion of  a  Formal  Garden  which  will  attract 
the  tourists  of  every  nation. 

Lorado  Taft  is  a  native  of  Illinois,  born 
in  1860  at  Elm  wood,  his  parents  being  Pro- 
fessor Don  Carlos  and  Mary  Foster  Taft. 
He  was  a  student  of  the  University  of  Illi- 
nois, Class  '79,  and  of  the  Ecole  de  Beaux 
Arts  in  Paris,  and  has  won  reputation  as 
the  author  of  "The  History  of  American 
Sculpture."  The  "Great  Lakes,"  the  group 
of  "The  Blind,"  which  won  him  member- 
ship in  the  Academy  in  Xew  York,  "Eter- 
nal Silence,"  in  Graceland  Cemetery,  and 
the  "Solitude  of  the  Soul,"  his  masterpiece, 
recently  purchased  by  the  Friends  of  Amer- 
ican Art  for  the  Art  Institute  of  Chicago, 
and  his  most  recent  work,  the  "Columbus 
Fountain,''  to  be  erected  in  Washington,  D. 
C.,  are  splendid  examples  of  Mr.  Taft's  ideal 
conceptions  which  command  respect  for  the 
enthusiastic  groupings  of  his  "Midway 
Dream." 


Taft's  "Dream"  is  a  wonderful  series  of 
groupings  of  fountains,  bridges,  and  por- 
trait statues  blending  in  an  harmonious 
ideal  composition.  It  is  a  stupendous  com- 
position, the  work  of  a  young  man,  for  Mr. 
Taft's  ideas  have  not  suddenly,  like  Miner- 
va, leaped  into  being !  On  the  contrary,  the 
"Dream"  is  the  loving  work  of  years  of 
thought,  expense  and  enthusiasm ;  and,  at 
last.  Chicago  is  awakening  to  the  artistic 
possibilities  which  are  now  pending.  En- 
thusiasm overcomes  all  obstacles  and  be- 
fore describing  this  wonderful  sketch  of 
beauty  Mr.  Taft's  own  words  should  be  of 
as  great  interest  as  his  work.  He  says : 

"What  this  country  lacks  is  consistency 
in  decoration.  I  would  like  to  see  a  formal 
garden  along  the  Midway,  compcsed  of 
three  features — a  sequence  of  fountains, 
bridges  and  portrait  statues  of  great  men 
of  the  ages.  It  is  quite  probable  to  arrange 
this  sequence,  as  there  is  great  wealth  and 
great  appreciation  of  civic  beauty  in  this 
community :  all  that  is  needed  is  enthu- 
siasm, and  Chicago  is  above  par  when  en- 


THE    CHICAGO    BEAUTIFUL 


161 


thusiasm  is  required.  Already  have  I  re- 
ceived the  approbation  of  many  who  are 
enthusiastic,  but  it  will  take  time  and 
thoughtful  consideration  before  all  plans 
are  consummated.  There  is  a  splendid  op- 
portunity for  the  University  of  Chicago 
students  to  contribute  a  statue,  value  five 
thousand  dollars,  through  a  small  contri- 
bution each  year  of  the  four  years  of  their 
student  life,  which  would  not  be  felt.  The 
others,  the  casual  ones,  also  would  thus  be 
available  in  a  fund  for  some  special  statue 
chosen  by  them,  to  commemorate  their  stay 
in  the  University.  There  are  about  five 
hundred  students  who  graduate  annually, 
and  the  problem  is  easy  to  solve  as  to  the 
individual  expense  of  the  voluntary  con- 
tributors. 

"I  mention  only  one  of  the  many  sources 
from  which  the  portrait  statues  could  come, 
and  I  am  convinced  that  it  will  be  accom- 


plished in  time.  I  am  greatly  impressed 
with  the  idea  of  a  formal  garden  which 
should  equal  anything  seen  abroad,  and 
not  have  the  Midway  appear  as  a  mile  of 
statuary.  It  has  been  a  dream  with  me  for 
year's,  and  I  work  a  little  each  day  on  the 
development,  in  order  that  the  most  beau- 
tiful thing  that  I  can  conceive  may  be  for 
Chicago's  perpetual  beauty  as  an  artistic 
center ;  not  only  for  her,  I  must  add,  but 
for  America. 

"It  seems  to  me  that  this  work  should  be 
achieved  by  Chicago's  men  and  women 
sculptors,  as  we  have  many  who  are  capable 
of  modeling  some  of  the  great  men  of  the 
past,  the  idealists  who  have  made  the  uni- 
verse a  civilized  universe.  I  am  not  in  favor 
of  heroes  and  warriors,  but  of  men  of  in- 
tellectuality and  force,  of  character  and  the 
courage  of  their  convictions  ;  men  who  have 
dared  to  live  and  who  have  given  to  the 


GROUP  FOR  FOl'XTAIS   OF  CREATIOX— DETAIL 
By   Lorado    Taft 


I  62 


A     SCULPTOR'S    DREAM     OF 


GROUP  FOR  FOUNTAIN  OF  CREATION — DETAIL 
By  Lorado  Taft 

world  beauty  and  an  inspiration  to  live  up- 
ward, not  downward :  men  who  believe  in 
construction,  not  destruction. 

"The  parks  of  Chicago  are  a  chain  of 
landscape  beauty  and  the  Midway  should 
be  an  objective  point  for  a  scheme  of  dec- 
oration that  will  impress  the  strangers  who 
visit  Chicago  -daily.  The  University  is  al- 
ways one  of  the  tour  of  observation  objects 
of  interest  and  the  Midway  thus  orna- 


mented would  add  to  the  attractiveness  of 
that  remarkably  beautiful  campus  and  its 
old-world  buildings." 

It  is  not  to  perpetuate  the  valor  and  cour- 
age of  American  pioneers  of  the  West,  this 
decorative  scheme  for  the  Midway  as 
sketched  by  Lorado  Taft,  but  to  perpetuate 
the  fame  and  beauty  of  the  vanished  White 
City,  never  surpassed  nor  equalled  among 
America's  numerous  expositions.  Tranquil 


THE     CHICAGO     BEAUTIFUL 


163 


amid  the  turmoil  and  flash  of  the  motor 
car,  the  Midway,  flanked  by  the  noble  build- 
ings of  the  University,  maintains  a  dignity 
that  is  in  strong  contrast  to  the  other  boule- 
vards, handsomely  decorative  as  land- 
scapes solely.  Mr.  Taft  has  looked  into 
the  future,  when  the  city  of  Chicago  will 
have  attained  a  pre-eminence  predicted  for 
her  as  the  centre  of  the  United  Stated. 

At  the  east  end  of  the  Midway,  the 
"Fountain  of  Creation"  will  rear  its  lofty 
proportions  based  upon  the  Greek  myth  of 
Deucalion.  There  was  a  deluge,  so  runs 
the  myth,  as  does  the  Biblical  myth  of  Noah, 
and  Deucalion  and  his  wife,  Pyrrha,  were 
the  only  mortals  saved  from  the  flood. 
Their  barque  rested  on  far-famed  Mount 
Parnassus  and  they  immediately  consulted 
the  oracle  beseeching  the  restoration  of  the 
human  race.  Commanded  by  the  oracle,  a 
powerful  goddess,  to  throw  the  bones  of 
their  mother  over  their  shoulders  after  cov- 
ering their  heads,  Deucalion  and  Pyrrha  in- 
ferred that  they  were  to  cast  stones  behind 
them,  which  was  the  correct  interpreta- 
tion, for  as  the  stones  fell,  they  became 
alive  and  appeared  in  the  form  of  men  and 
women  who  were  to  re-people  the  earth. 
The  sketch  model  shows  this  transforma- 
tion in  the  various  groups,  some  more  up- 
right than  others.  It  is  a  significant  con- 
ception of  an  old  and  familiar  story  which 
impresses  the  motive  of  the  decorative 
scheme.  There  will  be  twelve  groups  in 
this  foundation — various  details  are  pre- 
sented in  the  illustrations- — containing  in  all 
thirty-six  figures,  ten  feet  in  height,  ar- 
ranged in  ascending  scale. 

On  the  long  strip  of  land,  a  mile  in 
length  by  six  hundred  feet  wide,  which  has 
always  been  intended  as  a  series  of  lagoons, 
Lorado  Taft,  using  the  theme  of  Austin 
Dobson's  poem, 

Time   goes,    you    say?     Ah,    no, 
Alas!    Time   stays;    we  go." 

purposes  to  cover  with  bridges  and,  at  in- 
tervals, to  place  portrait  statues  of  great 
men.  At  the  west  end,  the  "Fountain  of 
Time"  will  be  erected,  a  masterly  concep- 


tion of  the  passing  of  Humanity  before 
Father  Time.  Terrible,  indeed,  is  this  pro- 
cession of  men  and  women,  heroes,  savants 
and  the  gentler  representatives  of  the  hu- 
man race.  Powerful,  mysterious  and  con- 
vincing, like  a  huge  wave,  humanity  rushes 
on  in  a  pitiless  quest,  sweeping  aside, 
trampling  under  foot,  but  ever  victorious 
and  harmonious,  to  the  music  of  the  tread 
of  countless  thousands,  rushing  towards 
their  various  goals  with  enthusiasm  and 
power.  How  this  mighty  army  presses 
onward,  blind  but  courageous,  knowing  the 


SKETCH  MODEL  "FATHER  TIME"— DETAIL 
By  Lorado  Taft 


I  64 


THE    CHICAGO    BEAUTIFUL 


SECTION  I — LORADO   TAFT'S  SKETCH  MODEL  FOR     FOUNTAIN     OF     TIME     TO     BE    PLACED 
ON  MIDWAY  PLAISANCE — CHICAGO 


future  must  be  crowned  with  success !  It 
is  a  glorious,  virile,  bold  composition,  swift 
and  full  of  exhilaration,  an  inspiration  to 
all,  although  the  pitiless  Fates  thrust  their 
obtrusive  realisms  occasionally  too  promi- 
nently as  in  the  tragedy  of  life.  This 
rhythmical  composition  is  typical,  also  to 
the  observer  of  America's  progress  over 
obstacles.  The  fountain  will  be  eighty-two 
feet  long,  the  figures,  ten  feet  high,  except 
the  central  one,  fifteen  feet,  and  Father 
Time,  twenty  feet  high. 

One  is  forcibly  reminded  of  those  words 
in  "The  Tempest" — 

These  our  actors 

As  I  foretold  you,  were  all  spirits  and 
Are  melted  into  thin  air: 

And.   like   the   baseless   fabric   of  this   vision. 
The   cloud-clapp'd   towers,   the   gorgeous   palaces, 
The  solemn  temples,   the  great  globe  itself. 
Yea.   all   which   it   inherit,    shall    dissolve 
And.    leave  not  a  rack   behind. 

But  there  are  many  other  features  to  be 
placed  along  this  memorable  strip  of  land. 
At  Ellis  Avenue,  will  be  erected  a  beautiful 
"Bridge  of  Faiths,"  typical  of  one  of  the 


great  thoughts  of  the  world,  Religion, 
whereon  great  thinkers,  or  founders  of 
world's  religions,  will  be  placed.  At  Madi- 
son Avenue,  the  "Bridge  of  Sciences"  will 
stand  representing  the  advancement  of  cre- 
ation and  the  world's  progress  by  means  of 
statues  of  men  who  have  contributed 
through  all  departments  of  science. 

But  the  central  bridge,  "Bridge  of  Arts," 
will  reveal  the  men,  in  life  size  statues,  who 
have  given  much  to  the  world,  by  means  of 
painting,  sculpture,  poetry,  music,  drama, 
literature,  and  all  that  the  term  Fine  Arts 
conveys.  This  bridge  appears  to  have  a 
greater  significance  to  me,  showing  the 
ideal  not  only  as  a  leaven  towards  progress 
and  beauty,  but  typical  of  that  highest  point 
in  a  nation's  progress,  of  the  apex  of  its 
pyramid,  from  its  beginning  to  its  end,  the 
Alpha  and  Omega  of  its  existence.  These 
bridges  will  be  of  concrete  and  the  statues 
of  Georgia  marble,  whose  close  grain,  ex- 
treme hardness  and  exquisite  brilliancy  ap- 
pears to  be  the  most  desirable. 


THE     CHICAGO     BEAUTIFUL 


165 


SECTION    II—LORADO     TAFT'S     SKETCH  MODEL    FOR    FOUNTAIN    OF    TIME    TO    BE 
PLACED    ON    MIDWAY    PLAISANCE — CHICAGO 


However,  this  dream  of  beauty  is  not 
yet  complete,  for  one  hundred  statues  of 
other  great  men  will  be  placed  at  short  in- 
tervals along  the  driveways.  Lorado  Taft 
suggests  that  a  committee  of  selection  be 
chosen,  although  his  preference,  while 
lengthy  and  broad,  does  not  include  many 
persons  suggested ;  simply  because  Time 
has  not  set  its  cachet  on  certain  distin- 


guished Americans.  It  has  a  Homer, 
Thucydides,  Shakespeare,  Goethe,  Emer- 
son, Beethoven,  Spinoza,  Giotto,  Da  Vinci. 
Velasquez,  Euclid,  Copernicus  and  other 
statesmen,  philosophers,  scientists,  poets, 
musicians,  authors,  artists,  and  sculptors. 

This  colossal  work  is  a  monument  to 
science,  religion  and  art  and  not  an  his- 
torical pageant.  Hence,  as  a  dignified  com- 


SKCTION     III — LORADO     TAFT'S     SKETCH  MODEL   FOR   FOUNTAIN    OF   TIME    TO    BE 
PLACED  ON  MIDWAY  PLAISANCE — CHICAGO 


i66 


A     SCULPTOR'S    DREAM     OF 


position,  colossal,  symbolic  and  inspiring, 
the  treatment  of  the  theme  has  been  most 
remarkably  developed  as  consistent  with 
the  landscape,  the  mental  attitude  and  the 
present  stage  of  progress  in  America. 

Poetry,  music,  painting,  sculpture  and  all 
branches  of  the  Fine  Arts  in  the  highest 
degree  become  necessities  in  a  commercial 
centre  when  material  necessities  grow  to  a 
great  extent  commonplace.  It  is  the  ideal 
in  humanity  that  transforms  the  criminal, 
the  wayward  and  the  vain  into  law-abiding 
citizens.  In  every  heart,  beauty  has  appre- 
ciation, although  the  standard  may  be 


varied,  and  a  municipality  that  encourages 
beauty,  in  the  simplest  and  most  common- 
place objects  familiar  to  the  passerby,  sets 
a  standard  that  provokes  interest,  inquiry 
and  appreciation. 

In  the  Midway  scheme  of  decoration,  the 
history  of  the  world  is  represented.  The 
erection  of  these  fountains,  bridges  and 
statues,  would  not  only  prove  that  the  ideal 
is  not  submerged  in  the  commercial  atmos- 
phere of  a  great  city,  and  that  Chicago  has 
talented  sculptors,  but  it  would  be  a  lib- 
eral education  for  the  people  and  a  grand 
triumph  for  Chicago. 


SKETCH  MODEL  FOR  PROPOSED  BRIDGES 
ACROSS  LAGOONS  ON  MIDWAY  PLAISANCE 
By  Lorado  Taft 


MAYOR  CARTER  H.  HARRISON 
Honorary  President  Ex-Officio 
Chicago  Plan  Commission. 


EDWARD  BURGESS  BUTLER 

Chairman  Committee  (1909-1911),  Original  Promoter 

Chicago  Commercial  Club's  "Plan  of  Chicago" 


WALTER  D.   MOODY 

Managing  Director  Chicago  Plan  Commission 


CHARLES  WACKER 

Chairman  Chicago  Plan  Commission 


HON.  JOHN  BARTON  PAYNE 
President  South  Park  Commission 


HON.  CHARLES  P.  FISHBACK 
Member  Deep  Waterway  Commission 


WILLIAM  BEST 

Member  Special  Park  Commission 


JENS  JENSEN 

Member  Special  Park  Commission 


PART  OF  THE  EXHIBITION  OF  PICTURES  BY  JULIUS  ROLSHOVEX  AT  THE  ART  GUILD 

— Courtesy  of  the  Art  Guild 


Exhibitions  in  Chicago 

By    JAMES    WILLIAM    PATTISON 


ART     INSTITUTE 

FOR  a  number  of  years  the  directors  of 
the  Art  Institute  have  set  apart  many 
rooms  for  the  special  use  of  the  artists 
of  Chicago  and  vicinity,  in  which  to  display  the 
work  they  have  done  during  the  last  year. 
Of  course  this  collection  of  local  art  becomes 
interesting,  because  the  work  and  the  per- 
sonality of  the  artists  is  so  intimately  known 
to  us.  The  first  question  which  each  artist 
extends  to  his  fellow  is,  "Do  you  think  the  ex- 
hibition is  better  than  the  last  one?"  thus  re- 
vealing the  intense  anxiety  to  see  Chicago  art 
growing  in  excellence.  Of  course,  the  great 
array  of  pictures  and  sculptures,  there  being 
three  hundred  and  twenty  numbers  in  the 
catalogue,  makes  the  impression  that  is  very 
akin  to  all  previous  exhibitions.  However,  it 


soon  becomes  evident  that  many  of  the  men 
and  women  have  much  improved  their  work, 
and  that  they  are  growing  in  character,  which 
is  revealed  in  their  works. 

One  artist,  highly  developed  in  his  profes- 
sion, and  who  is  a  constant  visitor  to  Euro- 
pean exhibitions,  remarked  that  several  years 
ago  the  Chicago  Artists'  paintings  looked  a 
little  dark  and  sombre  to  him  as  compared 
with  those  of  Paris;  but  that  the  present  ex- 
hibition came  out  in  brighter  and  lighter  tones, 
owing  to  the  influence  of  such  men  as  Sorolla. 
and  other  painters  long  students  abroad. 
Therefore,  it  may  be  declared  that  the  pres- 
ent exhibitions  indicate  a  distinct  advance. 
Quite  naturally,  the  question  of  prize  giving 
becomes  distinctly  important.  The  habit  of 
giving  prizes  has  its  drawbacks,  inasmuch  as 


i  70 


EXHIBITIONS  IN     CHICAGO 


it  is  often  difficult  to  find  work  which  is  so 
distinctly  superior  as  to  demand  the  awarding 
of  a  prize.  The  Municipal  Art  League  be- 
stows three  prizes  and  purchases  a  picture 
for  the  Municipal  Art  Gallery.  The  Grower 
prize,  of  $100,  is  given  to  the  best  group  of 
paintings,  and  was  bestowed  upon  Charles 
Francis  Browne  for  nine  landscapes.  In  look- 
ing at  this  collection,  it  is  plain  to  see  that 
the  artist  is  now  doing  riper  work  than  pre- 
viously. He  has  spent  the  last  year  in  South 
America,  as  Assistant  Director  of  the  Inter- 
national Exhibitions,  and  has  brought  away 
with  him  a  number  of  South  American  views. 

The  Shaffer  prize,  for  sculpture,  was  be- 
stowed upon  Agnes  V.  Fromen,  for  a  marble 
drinking  fountain.  In  the  face  of  a  rough 
block  of  marble  is  excavated  a  narrow  cave  in 
which,  lying  prone  and  looking  over  the  edge 
into  a  deep  basin,  is  the  graceful  form  of  a 
nude  boy.  The  idea  is  exceedingly  novel  and 
the  execution  knowing  and  spirited.  It  is  un- 
derstood that  this  drinking  fountain  is  to  find 
a  permanent  place  in  the  Art  Institute,  there 
to  do  practical  service.  The  highly  success- 
ful, and  greatly  esteemed,  sculptress  Nellie 
V.  Walker,  received  the  Walton  prize,  for  a 
life  size  ideal  statue  called  "The  Young  Dona- 
tello."  She  has  succeeded  well  in  the  pose  of 
this  young  man,  and  the  expression  of  a  face 
full  of  animation  and  hope,  as  he  stands  there 
in  his  leather  apron  with  mallet  and  chisel  in 
hand.  The  effect  of  the  figure  is  very  refresh- 
ing and  inspiring.  The  landscape  painter,  F. 
C.  Peyraud,  is  doubly  fortunate  this  year  in 
that  one  of  his  fine  landscapes  was  purchased 
by  the  Municipal  Art  League,  and  also  re- 
ceived the  medal  annually  presented  by  the 
Chicago  Society  of  Artists.  While  it  cannot 
be  said  that  Mr.  Peyraud  has  made  any  de- 
cided advance,  it  is  true  that  his  work  ma- 
tures every  year,  and  that  his  landscape  group 
is  distinctly  pleasing  and  in  every  way  pro- 
fessional. Through  the  influence  of  the  Mu- 
nicipal Art  League,  certain  women's  clubs  give 
special  attention  to  this  exhibition.  A  large 
number  of  them  hold  receptions  in  the  gal- 
leries, gathering  together  their  membership 
and  friends  to  spend  an  afternoon  in  studying 
art.  These  receptions  are  of  distinct  advan- 
tage to  the  community,  because  of  the  recog- 
nition they  give  to  art  workers  in  the  city,  as 
well  as  the  educational  feature  coming  from 
intimacy  with  art.  The  Arche  Club,  one  of 
the  most  important  in  Chicago  as  everyone 
knows,  has  purchased.  "The  Bisr  Lantern,"  by 
Walter  Marshall  Clute.  Mr.  Clute  does  not 
paint  large  pictures  but  they  are  carefully 


studied,  well  finished  and  beautiful  in  color. 
This  is  genre  painting  but  not  of  the  hack- 
neyed sort.  The  simplest  possible  incident  of 
domestic  life,  mostly  the  life  of  his  own  fam- 
ily, furnishes  the  subjects.  In  this  picture  a 
huge  yellow  Chinese  lantern  has  just  been 
lighted  and  throws  its  glow  over  the  interested 
members  of  the  family.  While  Chinese  lan- 
terns often  have  served  artists,  I  have  never 
seen  one  treated  just  in  this  way. 

The  Young  Fortnightly  Club's  prize  fell  to 
Lucie  Hartrath's  pictures.  She  has  long  been 
a  favorite  with  her  fellow  professionals,  be- 
cause of  the  directness  and  boldness  of  the 
brushing  and  the  agreeableness  of  the  color- 
ing. She  does  not  search  the  world  for  mo- 
tives, but  finds  them  in  any  corner  nearby,  inti- 
mate views  of  loose  meadows  and  tree  groups, 
seemingly  painted  directly  from  Nature  out- 
of  doors. 

A  group  of  six  portraits  by  Wellington  J. 
Reynolds  has  attracted  much  attention  be- 
cause of  his  feeling  for  brilliant  light  and 
somewhat  forced  coloring.  His  work  is  orig- 
inal and  striking.  It  is  not  right  to  criticize 
an  ambitious  artist's  coloring  because,  al- 
though there  are  laws  of  color,  it  is  so  sensi- 
tive a  matter  that  it  is  impossible  to  specify 
exactly  how  these  laws  should  be  treated. 
What  is  certain  is  that  Mr.  Reynolds  has  in- 
creasing ability  in  handling  this  scheme  of 
his  own.  For  instance,  H.  Leon  Roecker 
obeying,  the  same  laws  of  coloring  and  using 
his  pigments  with  freshness,  arrives  at  an  en- 
tirely different  result.  He  paints  landscapes 
of  modest  dimensions,  the  subjects  to  be  found 
on  any  farm  where  there  are  turkeys,  ducks 
or  chickens,  with  great  refinement  and  beau- 
tiful reserve.  His  pictures  do  not  startle  any- 
body and  make  no  spot  upon  the  wall,  but 
they  repay  well  any  attention  bestowed  upon 
them. 

The  marine  painter,  George  F.  Schultz,  has 
made  a  decided  advance.  His  moving  seas 
have  always  been  truthfully  drawn  and  full 
of  life,  but  there  is  an  increased  solidity,  dig- 
nity and  repose  in  his  manipulations.  Among 
those  who  show  marked  improvement  are 
John  F.  and  Anna  L.  Stacey.  They  have  been 
in  Quebec  during  the  last  summer,  and  have 
found  admirable  material  in  that  quaint  city. 
Though  Quebec  has  been  much  painted  these 
artists  have  united  the  interesting  subjects  to 
their  growing  ability  to  paint  with  style,  until 
one  wonders  whether  the  scene  or  the  man- 
ner of  rendering  it  is  more  attractive.  While 
not  painting  at  all  in  the  same  manner,  each 
one  of  them  has  attained  to  a  certain  grav- 


BY    J  A  M  E  S     IV ILLIAM    P  ATT  I  SON 


ity  and  dignity  which  is  not  altogether  usual. 
These  well  done  pictures  prove  that  "smart- 
ness" sometimes  has  to  take  a  back  seat,  when 
rine  style  comes  forward. 

If  Edward  J.  Timmons  continues  to  prac- 
tice his  bold  handling,  and  to  display  his 
knowledge  of  facial  anatomy,  he  will  secure 
an  enviable  reputation.  His  portrait  of  Mrs. 
Donald  Robertson  and  young  son  are  forerun- 
ners of  many  good  works  to  come.  There 
are  a  number  of  works  by  the  post-impression- 
ist, Jerome  S.  Blum.  In  examining  this  series 
of  paintings,  one  becomes  convinced  of  the 
decided  talent  of  the  young  man.  His  collec- 
tion of  paintings  exhibited  last  winter  in  Thur- 
ber's  gallery  excited  great  discussion  and 
acrimonious  criticism,  but  Mr.  Blum  is  mak- 
ing good.  Though  still  indulging  in  the  posi- 
tive and  almost  crude  coloring,  which  he 
claims  to  see  in  Xature,  there  is  reality  and 
distinct  character  in  his  painting,  and  it  cer- 
tainly has  a  certain  brute  force  which  may  be 
of  great  use  to  any  artist.  He  is  the  exact 
opposite  of  young  Harold  D.  Betts,  who  seeks 
a  beautiful  tone  and  the  utmost  tenderness  in 
his  moonlight  and  water.  In  a  similar  manner 
Mr.  Boutwood  paints  his  English  sea  side  vil- 
lages, with  rustic  figures,  in  a  dreamy  tender- 
ness and  a  color  that  is  his  own.  Mr.  Al- 
bright is  another  painter  of  "tone,"  giving  us 
wonderfully  alive  children,  who  enjoy  the 
fresh  air  of  heaven,  and  awaken  our  sym- 
pathy. 

Edward  B.  Butler,  merchant  and  painter, 
has  a  remarkable  feeling  for  landscapes  in  a 
hilly  country,  and  he  also  gets  good  color  of 
a  tonal  kind.  Mr.  Clusmann  has  abandoned 
the  Chicago  river  for  a  moment,  and  is  paint- 
ing the  simple  countryside.  Frank  V.  Dudley 
has  a  large  canvas  full  of  atmosphere  and 
agreeable  gray  color,  the  best  picture  by  him 
we  have  ever  seen.  Mr.  Fursman  sets  three 
figures  in  shadow  against  brilliant  sunshine. 
and  rejoices  in  three  green  dresses  against  the 
green  trees.  His  faces  in  shadow  are  admir- 
ably done.  Mr.  Grover  paints  the  canals  of 
Venice,  and  other  places  not  far  away,  with 
brilliant  groups  of  buildings,  highly  colored 
and  sparkling  in  the  sunshine.  Mr.  Hender- 
son gives  us  two  pictures  in  those  refined 
tones  which  he  has  mastered  and  makes  bet- 
ter and  better.  Wilson  Irvine  shows  us  nine 
landscapes,  in  well  managed  color,  modified 
by  choice  tone.  Alfred  Juergens  always  did 
paint  well  and  renders  "A  May  Morning,"  "An 
August  Evening."  and  "October  Afternoon," 
with  a  fine  sense  of  the  season  and  the  time  of 
day.  Pauline  Palmer  has  pictures  of  Italian 


towns.  She  paints  landscape  and  figures  bet- 
ter and  better  each  year.  We  have  all  known 
the  admirable  work  of  Lawton  Parker;  his 
nude  figure  in  the  woods  is  very  truthfully 
rendered  and  full  of  atmosphere. 

It  cannot  be  said  that  this  brief  account 
covers  all  the  fine  pictures,  but  lack  of  space 
compels  us  to  touch  on  the  work  of  Chicago 
sculptors.  Mr.  Taft  has  completed  a  very 
important  fountain,  for  the  children's  play- 
ground at  Bloomington.  Illinois.  He  has  made 
a  substantial  pylon,  and  on  two  faces  placed 
life  size  Indian  women,  besides  at  each  corner 
an  Indian  child  full  of  vitality  and  playful- 
ness. It  is  one  of  the  most  sympathetic  things 
of  the  kind  that  we  know  of.  Mr.  Crunelle's 
"Hixon  Memorial"  shows  us  a  group  of  life 
size  mother  and  two  children.  This  bronze 
monument  has  attracted  universal  attention 
and  great  praise.  John  Paulding  has  a  de- 
cided feeling  for  memorial  tablets.  The  tab- 
let, containing  a  portrait  of  E.  H.  Gary,  is 
exceedingly  well  done  and,  if  we  are  allowed 
to  speak  of  so  small  a  matter,  shows  some 
of  the  handsomest  lettering  that  we  can  re- 
member to  have  seen.  There  is  every  indica- 
tion that  the  likeness  is  quite  perfect. 

PRINCE  TROUBETZKOY'S   SCULPTURE 
EXHIBITION 

IN  connection  with  the  Chicago  Artists' 
Exhibition,  now  on  view  at  the  Art  Insti- 
tute, two  rooms  have  been  set  apart  for  the 
sculptures  by  Prince  Paul  Troubetzkoy.  It  is 
not  uncommon  for  people  to  speak  slightingly 
of  the  "effete  aristocracy"  of  Europe,  and  a 
Chicago  lady  looked  with  great  astonishment 
at  Paul  Troubetzkoy.  remarking  nothing  ef- 
fete about  him,  forgetting  that  he  is  a  Rus- 
sian, and  that  that  country  has  produced  a 
good  many  hundred  magnificent  specimens  of 
humanity,  men  of  fine  physique  and  a  high 
order  of  talent.  Anyone  familiar  with  this 
artist  will  recognize  the  truthfulness  of  my 
statement.  He  happened  to  see  the  light  in 
Italy,  but  practiced  his  art  in  Russia,  where 
he  still  maintains  his  citizenship.  His 
academical  training  was  not  extensive,  but  his 
extraordinarily  natural  talent  has  made  its 
mark.  He  purposely  breaks  the  laws  of 
classical  sculptors.  Xone  of  his  draperies  are 
finished,  but  dashed  in  with  ruthless  freedom, 
looking  only  to  the  expression  of  the  form 
underneath,  and  allowing  the  feeling  of  free 
motion  and  the  greatest  elasticity.  Greek  dra- 
peries are  elegantly  finished  and  beautifully 
correct,  but  they  do  not  suggest  movement. 
Of  course,  there  will  always  be  a  wide  diver- 


172 


EXHIBITIONS  IN     CHICAGO 


sion  of  opinion  as  to  whether  the  dashing 
manner  allows  of  a  great  expression  in  art. 
It  certainly  is  not  reposeful,  but  very  alive. 
The  reckless  independence  of  M.  Troubetzkoy 
leads  him  to  break  many  laws.  His  portrait 
statuettes,  of  both  men  and  women,  are  so 
extraordinarily  slender  and  long  that  they  are 
certainly  ten  heads  high,  instead  of  the  clas- 
sical eight  heads.  This  slimness  becomes  im- 
posing as  attitude.  He  does  not  always  in- 
dulge in  this  fanciful  treatment;  in  "The 
Young  Man  Feeding  the  Dog,"  the  figure  is 
perfectly  normal,  and  all  his  little  girls  are 
the  same.  "The  Mother  and  Child"  seem  to 
be  perfectly  true  in  proportion,  as  are  the 
"Count  Witte"  and  the  Tolstoy  figures.  The 
figures  of  women  dancing  are  intensely  living 
and  natural.  The  equestrian  statues  to  Alex- 
ander II  and  III  are  positively  normal  and 
very  dignified.  Two  busts  of  Tolstoy  show 
power  much  beyond  the  average.  Perhaps 
the  most  remarkable  elements  in  his  work  is 
the  exquisite  beauty  of  his  faces,  be  they  men 
or  women,  mere  fancies  or  actualities.  While 
there  is  the  strongest  suggestion  of  personal- 
ity in  these  faces,  they  are  so  beautifully  ren- 
dered as  to  carry  every  spectator  off  his  feet. 
These  faces  are,  generally  speaking,  carefully 
finished,  but  there  are  several  individualities 
in  them.  The  remarkable  curl  of  the  lips  and 
the  manner  of  treating  the  eyes  are  original. 
There  is  in  every  human  eye  a  certain  limpid- 
ity and  suggestion  that  the  eye  is  mobile.  In 
the  old  Greek  statuary  the  eye  was  treated 
as  a  round  ball  set  in  a  rigid  sheath.  It  was 
precise  and  beautiful  but  too  positive.  The 
old  Romans  and,  later,  the  Renaissance 
sculptors,  shocked  by  the  staring  stoniness  of 
this  eye,  invented  the  idea  of  making  a  round 
hole  to  suggest  the  iris  and  leaving  a  little. 
point  of  marble,  on  the  edge  of  this  black 
hole,  to  suggest  the  shining  reflection  on  the 
eyes'  glassy  surface.  But  this  also  produced 
the  stony  stare. 

Troubetzkoy  has  invented  his  own  manner 
of  overcoming  this  difficulty,  though  the 
painters  have  for  a  long  time  been  working 
very  much  in  the  same  manner.  For  example, 
in  a  modern  Dutch  picture  one  can  never  find 
a  fully  wrought  eye;  they  all  being  managed  to 
suggest  mystery.  Troubetzkoy  carves  his  eye 
very  much  as  the  Dutch  painters  work  it.  Not 
alone  are  the  lids  but  slightly  suggested  but 
the  eyeball  itself  is  not  too  developed,  and  its 
surface  is  so  hacked  with  the  chisel,  so  as  to 
give  it  wonderfully  limpidity  and  prevent  the 
attention  being  drawn  away  by  the  perfected 
rigidity  of  the  parts. 


In  the  portrait  statuette  of  the  Princess 
Troubetzkoy,  the  feeling  of  nervous  life 
throughout  all  the  figure  is  wonderfully  ex- 
pressed, and  the  face  is  full  of  gaiety,  while 
still  an  admirable  likeness.  A  number  of  fig- 
ures, some  of  them  life  size,  of  little  girls 
caressing  large  dogs,  seemingly  a  series  of 
portraits  of  a  child  and  the  pet  animal,  are 
most  touchingly  beautiful,  especially  the  faces 
never  cease  to  charm  to  the  utmost.  It  is  a 
matter  for  regret  that  we  cannot  introduce  a 
series  of  illustrations  showing  plainly  these 
beauties,  but  it  not  long  since  there  was  an 
exhaustive  article,  fully  illustrated,  published 
in  the  Fine  Arts  Journal,  regarding  this  re- 
markable man. 

ANDERSON'S     GALLERIES 

ART  lovers  who  have  for  years  found  in 
the  Anderson  Galleries  on  Wabash  ave- 
nue a  place  of  interest  and  delight,  will 
be  glad  to  greet  the  firm  in  their  new  location 
on  Michigan  avenue,  where  an  unusually  fine 
collection  of  paintings  and  etchings  is  on  dis- 
play in  a  setting  of  rare  beauty.  Mr.  and  Mrs. 
Anderson  are  to  be  congratulated  upon  hav- 
ing secured  the  former  writing  rooms  on  the 
ground  floor  .of  the  Auditorium  Hotel,  which 
they  have  transformed  into  an  exquisite  suite 
of  galleries  with  something  of  the  cozy  effect 
of  a  luxurious  home.  Here  are  to  be  found 
many  paintings  by  well  known  artists,  but  most 
conspicuous  is  a  large  collection  of  etchings,  by 
Sir  Seymour  Haden  and  D.  Y.  Cameron;  there 
being  over  sixty  examples  from  the  former  and 
over  forty  by  the  latter.  It  is  hardly  neces- 
sary to  enlarge  upon  the  art  of  either  of 
these  men,  so  widely  known  are  they,  but  the 
quality  of  the  work  is  made  plain  by  such 
titles  as,  "Fulham— Trial  Proof  D,"  "Water 
Meadow — Reverse  Proof  of  Trial  A,"  Trial 
Proof  D  of  the  "Penton  Hope,"  and  Trial 
Proof  C  (touched)  from  the  same  plate.  There 
are  four  trial  proofs  of  "A  Likely  Place  for 
Salmon,"  and  four  trial  proofs  of  the  "Break- 
ing up  of  the  Agamemon,"  "The  Calais  Pier," 
after  Turner,  trial  proof  between  B  and  C. 
Three  proofs  of  "The  Willow,"  three  proofs 
of  the  "Greenwich";  of  one  of  them  only  five 
impressions  were  ever  taken.  This  highly  im- 
portant collection  is  beautifully  mounted  on 
gray  plush  walls  and  the  surroundings  are 
worthy  of  the  art  work.  The  Cameron  etch- 
ings are  similarly  installed,  and  the  force  and 
excellence  of  the  workmanship  is  so  familiar 
to  all  lovers  of  etchings,  that  the  titles  will 
explain  the  exhibition.  There  is  "The  Green- 
ock."  "Thames  Wharf,"  "Canal,  Amsterdam," 


BY    JAMES     W I  L  LI  AM    P  ATT  1  SO  X 


73 


recognized  by  the  art  loving 
public  of  Europe  "Haarlem," 
"Waterloo  Place,"  "The  Rialto, 
Venice,"  "Valley  of  the  Ar- 
dennes," "Berwick  on  Tweed," 
and  a  long  list  of  similar  mat- 
ter. This  new  establishment, 
and  its  contents,  are  a  distinct 
addition  to  the  art  opportuni- 
ties of  Chicagoans. 

THE  FINE  ARTS 
SHOP  OF  CHICAGO 

IT  is  not  many  weeks  since 
the  artists  of  Chicago  or- 
ganized an  Art  Guild,  and 
opened  the  Fine  Arts  Shop  of 
Chicago,  in  the  Fine  Arts 
Building,  410  South  Michigan 
Boulevard.  In  their  suite  of 
rooms  is  a  continuous  exhibi- 
tion of  the  works  of  the  mem- 
bers, not  alone  of  paintings  but 
of  beautiful  art  craft  work.  At 
the  present  moment  a  large 
room  is  set  apart  to  show  the 
paintings  of  Julius  Rolshoven. 
This  artist's  reputation  has  long 
been  recognized  by  the  art-lov- 
ing public  of  Europe  and  Amer- 
ica. Though  born  in  Detroit, 
in  1858,  Rolshoven  makes  his 
home  in  Florence,  in  a  very 
unique  building  called  "Cas- 
tello  del  Diavolo."  This  eight 
hundred  year  old  house  was 
built  with  extraordinary  solid- 
ity, so  that  it  was  not  alone  a 
residence,  but  a  fort,  and  it  has 
seen  all  manner  of  service, 
even  to  the  stabling  of  horses. 
Mr.  Rolshoven  has  cleaned 

and  polished  it  back  to  its  original  re-  Farm,''  "Fugue  in  Carnation  and  Rose,"  give 
spectabilitv,  introducing  modern  conveniences  an  idea  of  the  poetical  thought  which  actuated 
and  other  essentials.  Perhaps  there  is  no  the  artist  to  paint,  not  along  simple  truths  but 
more  interesting  studio  home  in  all  Eu-  to  treat  them  in  a  romantic  way.  The  artist 
rope.  This  artist  has  an  enviable  ability  to  colors  admirably,  sometimes  with  brilliant 
paint  important  figures,  portraits  or  landscape.  pigments,  sometimes  with  rich  and  subdued 


PORTRAIT  OF  MISS  KDWINA  NOYE 
By  Julius  Rolshoven 


— Courtesy  of  the  Art  Guild 


The  titles  "Tunis — Mysticism  in  Light,"  "The 
Captive — Femme  Arabe,"  "Interior  of  Lower 
Church  of  Assisi,"  "Looking  East  on  My 


tones,  and  few  can  surpass  him  in  freedom  of 
brush  work.  A  visit  to  the  Fine  Arts  Shop 
will  handsomely  repay  the  time  thus  expended. 


H 


-S 


"CERTALDO" 

— Museum  of 
Art,  Udine 


By 

Fcrruccio 
Scattola 


The  Italian  Artist — Ferruccio  Scattola 

By   CHARLES    LOUIS    BORGMEYER 


THE  extraordinary  power  in  recent 
years  shown  by  the  younger  Italian 
painters,  and  especially  by  those  of 
Venice,  has  drawn  the  attention  of 
the  whole  world  of  art  to  these  men.  Many 
reviews  have  been  written  on  the  Modern 
Italian  school,  from  which  I  might  quote, 
but  for  the  present  I  shall  confine  myself 
to  the  excellent  works  of  Ferruccio  Scat- 
tola.  It  will  be  a  temptation  to  speak  of 
many  others,  for  my  visits  to  the  studios 
left  me  not  only  with  a  very  pleasant  im- 
pression of  their  studio  hospitality,  in  the 
open-door-freedom-manner  of  former  days, 
but  with  a  keen  appreciation  of  the  trend  of 
their  minds  toward  truth,  and  their  de- 
lightful youthful  enthusiasm  which  ever 
urges  them  on  in  their  search  for  ideas. 

Ferruccio  Scattola  is  a  man  so  modest  and 
quiet  that  he  almost  succeeds  in  effacing 
himself,  until  some  thought  or  chance  word 
stirs  the  depths,  and  then  all  is  ablaze  with 


the  glorious  light  of  intelligence.  Words 
come  fast  but  with  a  softness,  a  quietness 
that  carries  conviction ;  then  returns  the 
taciturn  man,  a  better  listener  than  talker. 

A  man  who  is  attracted  by  the  big  prob- 
lems of  art;  one  who  takes  his  place  in  the 
first  rank  in  all  the  art  movements  of 
Venice ;  whose  judgment  is  sought  for  both 
privately  and  officially ;  a  member  of  the 
Jury  and  of  a  committee  which  passes  on 
the  valuation  of  articles  of  virtu  leaving 
Italy ;  he  is  also,  I  believe,  one  of  those  to 
judge  the  students'  work  when  the  annual 
prizes  are  given  at  the  Academia. 

My  first  visit  to  Scattola's  studio  was 
made  in  a  very  unfair  mood,  for  while 
crossing  from  the  Lido  I  was  enthralled 
anew  by  the  continuous  feast  for  the  eyes, 
of  the  sunlight  playing  an  unending  scale 
of  changing  tones  upon  waters  and  palaces, 
and  resented  going  indoors  and  felt  very 
much  inclined  to  stay  where  I  was  and 


1/6 


THE     ITALIAN    ARTIST 


MARKET  AT  THE  RIALTO 
By   Ferruccio   Scattola 


— Courtesy  Private  Collector,  Berlin 


BURANO  AT  NIGHT — (Gold  Medal,  Munich,  Germany,  1905) 

By  Ferruccio  Scattola  — Courtesy  Fine  Arts  Museum,  Buenos  Ayref 


FERRUCCIO    SC ATT OLA 


FERRUCCIO  SCATTOLA — Artist 

break  my  engagement  with  Scattola.  This 
mood,  however,  passed  instantly  upon  en- 
tering his  studio.  The  first  canvas  showed 
the  man  had  extraordinary  resources  and 
each  succeeding  canvas  increased  the  im- 
pression until  the  beauty  of  the  real  Venice 
was  forgotten  in  the  reflected  thoughts  of 
Ferruccio  Scattola.  The  flower  and  vines 
climbing  over  the  verandas  of  the  palaces 
of  Venice,  making  showers  of  warm  light : 
the  age-worn  canals  and  bridges,  the  vivid 
boats,  the  yawning  rags  of  a  beggar,  of 
•course  gained  by  being  seen  in  their  natural 
setting;  but  the  mountains,  the  forest  clad 
slopes  of  Switzerland,  the  bridge  of  the 
Galatea  at  Constantinople,  the  views  of  the 
"Cities  of  Silence,"  revealed  such  refresh- 
ing and  personal  vision  that,  while  assured- 
ly I  had  no  inclination  to  belittle  the  ever- 
changing  sorcery  of  Venice,  yet  I  found 
these  Scattola  patches  with  their  depths  of 
luminous  distance,  their  indications  of  shad- 
ows and  haze,  these  powerful  impressions 


of  land  and  sea,  strikingly  interesting.  Scat- 
tola  does  not  present  what  he  sees,  but  what 
he  feels.  Painting  is  for  him  a  means  of 
sincere  expression,  and  if  he  were  to  paint 
twice  the  same  landscape  at  the  same  hour, 
in  the  same  light,  from  the  same  point  of 
view,  he  would  paint  two  landscapes  con- 
taining the  same  lines — but  yet  different. 

Born  at  Venice  in  1873.  he  at  first  learned 
to  paint  without  a  guide  or  teacher,  ex- 
cept nature  itself,  and  it  is  to  nature  he  con- 
tinues to  look  for  his  inspiration.  Nature 
is  interpreted  by  him,  not  reproduced.  It 
is  personal  inspiration  and  feeling  that  he 
seeks  to  convey  to  canvas ;  not  actual  trees, 
houses  or  people.  This  was  his  aim  while 
travelling  over  much  of  Europe,  and  this 
was  still  his  aim  when  he  returned  to  his 
native  city  where  he  resumed  work  on  the 
studies  of  the  Venetian  type  which  attracted 
him  from  the  very  beginning. 

Scattola  was,  almost  from  the  first,  alone  : 
his  instinct  was  to  search,  to  learn,  to  see. 
to  translate  what  he  saw  as  seen  through 
his  temperament.  His  whole  being  was 


JULIA,    VENETIAN    GIRL 
Bit   Ferruccio  Scattola 

— Collection  Doctor  J.   G.   L.  Borgmeyer, 
Bayonne,  ff.  J. 


i78 


THE     ITALIAN     ARTIST  — 


SHIPPING.  THE  GIVDECCA,   VENICE — /International  Exposition.   Venice,   190H :   Exposi- 
tion Buenos  Ayres  ISll)  By   Ferruccio   Scattola 


centered  on  the  discovery  of  how  to  render 
light  as  he  saw  it,  color  as  he  felt  it,  line 
as  he  dreamed  of  it.  Now,  to  an  extent  at 
least,  these  are  at  his  call,  and  when  the 
inspiration  moves  him  he  can  create  them. 
His  are  rich  hued  golden  glowing  dreams, 
dreams  such  as  artists'  souls  rarely  trans- 
late, even  in  these  days  of  so-called  greater 
vision.  Does  all  this  sound  like  the  fulsome 
praise  of  an  enthusiast?  It  is  not,  if  you 
knew  the  man,  if  you  knew  his  work. 

At  times  it  contains  a  strong  suggestion 
of  Pointellism.  if  you  choose,  only  he  does 
not  call  it  that.  Pointellism  as  it  is  known 
to  our  modern  artists  he  regards  as  the 
plaything  of  men  with  time  hanging  heavy 
on  their  hands.  He  is  not  striving  to  sug- 
gest light  in  minute  pin  point  quantities ; 
he  wants  it  in  bulk ;  vibrant,  all-pervading. 


While  still  young,  he  has  a  good  knowledge 
of  the  methods  of  the  modern  painters  of 
Europe.  He  is  refined  in  his  feeling  for 
color  and  very  skillful  in  rendering  with  ex- 
quisite feeling  the  sentiment  of  the  hour 
and  place.  He  has  painted  in  Venice,  in 
Switzerland  and  Sicily,  in  Constantinople 
and  Greece,  and  in  Asia  and  Africa.  At  one 
time  he  became  interested  in  the  "Dead 
Cities"  of  Umbria,  Tuscany  and  Latium 
and  painted  his  pictorial  impressions  of 
them.  These  pictures  attracted  much  at- 
tention and  reproductions  of  them  were 
published  in  an  edition  de  Luxe  under  the 
title  of  "The  Cities  of  Silence."  One  critic 
said,  "His  portraits  of  places  are  as  sug- 
gestive as  portraits  of  faces." 

I  have  already  spoken  of  the  varied  char- 
acter of  his  subjects.  The  artist  as  a  rule 


FERRUCCIO    SCATTOLA 


will  do  all  he  can  to  continue  in  the  line 
of  his  first  success.  One  sees  the  evidence 
of  this  in  the  tendency  to  repeat  conscious- 
ly, or  unconsciously,  some  part  of  a  former 
success.  Scattola's  temperament  has  forced 
him  to  be  an  exception  to  this  general  rule. 
His  many  moods  constantly  change  his 
point  of  view,  and  this  not  only  applies  to 
his  change  of  subject,  but  to  his  method 
of  painting.  It  is  easy  to  see  that  while  he 
paints  with  equal  facility  a  literary,  poetical 
or  decorative  work,  houses,  animals,  in- 
teriors, soldiers,  moonlight  scenes  or  por- 
traits, they  represent  to  him  only  so  much 
material  for  the  expression  of  his  ever- 
changing  sensations  and  visions. 

Take,   for  example,  his  "Smithy."     We 
do  not  think  that  Scattola  has  any  special 


love  for  horses,  being  a  Venetian ;  but  here 
horse  and  man  presented  to  his  eyes  in  a 
pictorial  and  harmonious  form,  a  decorative 
composition  for  which  the  horse  and  man 
furnished  but  the  elements.  Decorative  com- 
position— how  indefinite  the  expression ! 
And  yet  it  is  upon  this  very  quality  that 
Ferruccio  Scattola  has  centered  the  best  of 
his  energy  and  that  from  it  he  has  derived 
the  highest  pleasure ;  for  it  is  evident  that, 
to  him  at  least,  every  good  picture  must 
be  decorative  in  quality,  and  it  is  equally  evi- 
dent that  to  this  quality  he  closely  and  in- 
ately  associates  the  imaginative  and  poeti- 
cal. In  unconscious  combination  these  find 
form  spontaneously  in  his  work.  Most  of 
his  canvases  contain  a  something  difficult 
to  explain,  and  whether  it  is  due  to  ideal- 


LA  SAGRA  DI  SAN  GIOVAXXl 
By  Femccio  Scattola 


— Courtesy  International  Museum  of  Modern  Art,  Venice 


I  80 


THE    ITALIAN    ARTIST  — 


a 

"E 


Ei  e 

tc  o 


O    3l 

O  03 


o 

l-« 

o 


FERRUCCI O     SC ATT  OLA 


181 


ism,  poetical  imagination,  or  that  "some- 
thing" which  unconsciously  leads  the  true 
artist  to  work  ingeniously,  it  is  difficult  to 
say.  For  who  can  analyze  an  artist-poet's 
mind  ?  His  pictures  are  painted  quite  as  he 
thinks  best,  regardless  of  what  others  are 
doing.  In  other  words,  he  follows  the  most 
distinctive  mark  of  the  moment  in  modern 
art,  individuality  of  expression. 

The  modern  artist  has  preserved  from  his 
predecessor  many  of  the  traditions  of  his 
calling,  and  yet  from  every  pore  he  distills 
civilization,  and  with  it  often  commercial- 
ism. Civilization  tends  to  level  all  the  ele- 
ments of  modern  existence,  to  make  for  the 
utilitarian,  but  inaesthetic  triumph  of  uni- 
formity. The  days  of  roysterous,  irrespon- 
sible and  careless  living  are  passed.  The 
companionship  of  community,  friendship 
and  glamor  of  the  craft  is  now  often  re- 
placed by  the  contract  between  the  picture 


merchant  and  the  artist,  and  if  it  were  not 
for  artist  communities  such  as  exist  in  Ven- 
ice and  certain  parts  of  France,  the  tradi- 
tions of  the  life  of  the  artist  would  soon  be 
but  a  memory. 

For  us  today  the  principal  interest  in  art 
rests  in  individuality.  It  matters  little  how 
the  work  is  done,  how  the  paint  or  medium 
is  applied.  In  life  and  in  art  everything 
lies  in  the  mass.  The  artist's  measure  is  his 
ability  to  select,  reject  and  organize.  A 
painter's  success  hinges  on  his  ability  to  or- 
ganize colors  and  place  them  in  the  right  re- 
lation to  give  a  picture  of  the  vision  in  his 
mind,  in  his  ability  to  be  distinctive  from 
the  mob,  individual. 

Individuality  should  not  be  that  of  the 
chemist,  the  artisan,  or  the  physiologist. 
The  artist  should  not  follow  with  infinite 
care  and  persistence  the  road  pointed  out 
by  the  learned  philosophers  and  professors 


CA  NA  L — VENICE 
By  Ferruccio  Scattola 


— Courtesy  Museum  of  Art.  Verona 


I  82 


THE    ITALIAN     ARTIST- 


"THE   SMITHY" — (Silver  Medal,  Rarcellona,  Spain.  190r) 

By  Fcrruccio  Scattola  — Courtesy   National   Museum    of   Modern    Art,    Romf 


in  the  construction  of  his  aesthetic  values. 
Scattola's  individuality  of  expression  is 
not  the  least  interesting  of  his  many-sided 
talents.  Both  in  his  subjects  and  in  their 
treatment,  he  displays  an  originality  and  a 
sincerity  of  effort  which  compels  admira- 
tion. Whether  we  meet  him  by  the  Swiss 
cottage,  in  Venice,  on  the  shores  of  the 
Adriatic,  or  among  the  most  picturesque 
and  delightful  cities  of  the  world,  the  silent 
and  historic  cities  of  ancient  Italy,  his  ap- 
peal is  always  the  same.  It  is  the  appeal  of 
suggestion  quite  as  strong  as  the  appeal  of 
description.  Most  of  us,  as  we  read  the 
history  of  ancient  Umbria  and  Tuscany, 
of  their  brave  struggles  and  their  valiant 
peoples,  conjure  in  our  minds  some  image, 
vague  and  dim,  of  the  scenes  described. 
Scattola  has  fixed  and  materialized  these 
images  on  canvas  and  in  this  he  has  shown 


his  talent  as  an  artist  of  creative  design. 
In  these  cities,  bristling  with  the  recollec- 
tion of  deeds  of  valor,  teeming  with  his- 
tory and  magnificent  monuments,  filled  with 
phantoms  of  art  and  religion,  in  these  vener- 
able sanctuaries  of  an  ancient  people — As- 
sisi,  Perugia,  Siena,  San  Gimignano,  Pri- 
mavera  sul  Clitunno — he  works  and  paints : 
and  painting,  seeks  for  kindred  souls,  for 
those  whose  hearts  beat  in  unison  with  his, 
for  those  who  in  feeling,  in  heart,  mind  and 
imagination  respond  to  the  vibrations  which 
inspire  his  art,  and  responding,  vibrate  in 
sympathy  with  him.  He  does  not  copy  na- 
ture indiscriminately,  for  that  would  make 
his  pictures  mechanical.  He  stops,  thinks 
and  dreams,  and  then  depicts  that  which  is 
really  pictorial.  Otherwise  he  could  not 
strike  a  certain  key,  and  those  of  us  who  are 
tuned  in  that  same  key  would  not  reply  in 


FERRUCCIO     SCATTOLA 


183 


either  sympathy  or  understanding,  for  it 
would  appeal  to  neither  of  these  elements  in 
us.  As  soon  as  Scattola  forgot  to  omit  what 
ought  to  be  omitted  and  failed  to  select  what 
ought  to  be  selected,  he  would  reduce  him- 
self to  the  level  of  a  photographic  camera, 
and  his  appeal  as  an  artist  would  cease. 

Scattola  cultivates  and  keeps  active  his 
emotions ;  he  does  not  rely  upon  the  nimble- 
ness  of  his  fingers  and  wrists,  or  upon  liter- 
al truth  to  nature,  sound  design  or  pleasant 
coloring;  but  upon  the  representation  and 
interpretation  of  things  filled  with  emotion. 
It  is  perhaps  because  of  his  love  for  the 
legends  and  history  of  these  places  that  he 
has  chosen  to  translate  into  paint  the  Duomo 
of  Siena,  the  triple  Basilica  of  Assisi,  ind 
the  white  and  pink  La  Torre  del  Mangia, 
beloved  by  all  true  lovers  of  Italy.  How 
infinitely  more  suggestive  is  their  appeal, 


and  how  much  greater  the  pleasure  given 
to  those  fond  of  the  legendary,  artistic  and 
religious  history  of  Italy — Italy,  the  art 
mother  of  all — than  could  possibly  be  de- 
rived from  the  portrayal  of  a  solitary  church 
in  the  midst  of  some  unknown  Alpine  valley 
The  arrangement,  composition,  and  de- 
sign of  his  picture  is,  of  course,  dependent 
upon  the  subject  matter  and  varies  infinite- 
ly. He  has  to  a  marked  degree  the  ob- 
serving eyes  of  the  man  who  lives  to  in- 
terpret nature,  constant  practice  has  trained 
him  to  plan,  measure  spaces  and  arrange 
his  masses  unconsciously.  Within  a  limited 
space  of  a  few  inches  he  sets  down  the 
main  characteristics  of  the  scene,  the  feeling 
of  the  moment,  the  sensations  and  the  emo- 
tions created  by  them  upon  him  and  later 
reproduces  these  impressions  in  his  studio 
with  that  feverish  inspiration  and  emotion 


POT  MARKET  AT  ASSISI 
By  Femtccio   Scattola 


i84 


THE    ITALIAN    ARTIST  — 


AL11A  — Courtesy  Museum   of  Modern  Art.  Bruxelles,  Belgium 

By  Ferruccio  Scattola 


which  makes  all  his  works  so  distinctive 
when  compared  with  the  photographic  and 
mechanical  landscapes  of  many  other  ar- 
tists. 

The  Duomo  of  San  Rufino  at  Assisi  is 
black,  as  every  one  knows ;  yet  Scattola  has 
painted  it  red,  for  he  saw  it 
in  the  glamor  and  glory  of  a 
brilliant  sunset.  The  Cathe- 
dral (II  cluomo  di  Siena)  is 
black  and  white  and  not  rose 
and  ivory,  as  the  artist  painted 
it  in  the  clear  air  of  a  spring 
morning.  While  these  tones 
of  red  and  brown  and  blue 
and  grey  are  not  perhaps  as 
they  recur  to  our  memory, 
they  are  manifestly  an  inter- 
pretation of  the  artist's  con- 
ception, and  seldom  fail  to 
kindle  in  the  beholder  a  very 
genuine  enthusiasm.  And  in 
this  lies  the  essence  of  Scat- 
tola's  art.  We  find  it  in  all 
art,  in  all  the  best  work  of  the 
old  and  new  landscape  paint- 
ers. Just  as  a  portrait  painter 
poses  his  sitter  in  a  favorable 


light,  arranging  and  draping 
her  clothes,  so  a  landscape 
painter,  like  Scattola,  selects 
his  scene,  and  chooses  his  hour 
and  light.  It  may  be  sunset 
or  moonlight,  stormy  sky  or 
sunny  day;  if  the  necessity 
arises,  he  even  imagines  the 
light  and  color,  for  unless  the 
scene  and  light  convey  to  him 
an  impression,  he  does  not  at- 
tempt to  translate  it  in  color. 
With  him.  as  with  the  poet, 
nothing  is  definite.  He  paints 
only  that  which  appeals  to  his 
emotions.  Take,  for  example, 
his  "Piazza  del  Campo"  at 
Siena ;  he  has  seen  it  under  a 
turbulent  sky  and  his  vision 
was  that  of  a  reddish  earthy 
brown.  Another  would  prob- 
ably have  painted  it  under  a  clear  and  tran- 
quil sky  and  would  have  rendered  with 
great  minuteness  the  beautiful  architectural 
lines. 

It  is  this  personal  vision  of  Scattola.  ren- 
dered with  deep  feeling,  which  makes  his 


TWILIGHT  AT   ASSISI 
By   ferruccio   Scattola 

— Collection   Charles  L.   Borgmeyer,  Nev:   York 


FERRL'CCIO     SCATTOLA 


FIEST  DAY  S.  ELENA — VENICE — 

•International  Exposition.  Rome,  1911) 

tty  Ferruccio  Scattola       • — Collection  of  the  Queen   Mother  of   Italy 

things  remain  with  us.    It  is  an  original  in- 
terpretation given   with   the  greatest   free- 
dom of  expression  which  is  so  individual 
that  it  could  not  have  come  to  us  except 
through  his  own  personality.     In  it  he  has 
sought  to  convey  to  us  not  so  much  the  in- 
tensity  as   the   harmony   and 
the  unity  of  light.     Scattola      ^^« 
makes    use    of    whatever    he 
finds  good  in  the  rules  of  the 
impressionists,    the    division- 
ists,  the  luminists,  of  any  of 
the  many  other  schools ;  but 
never  loses  sight  of  the  neces- 
sary final  effect  of  his  work, 
which  must  always  correspond 
with  his  first  impression,  and 
the  color  of   this   impression 
is  rendered  as  he  first  receives 
it,  with  emotion  and  delicacy 
of    tone.      This    harmony    of 
color  is  indeed  a  fundamental 
virtue  and  forms  one  of  the 
distinct   values   in   every   one 
of  his  landscapes. 

It  is,  I  fear,  in  vain  to  seek 
to  convey  to  you  by  reproduc-      A  CAL3f 
tions   in   black  and   white  an      BU  Ferruccio  Scattola 


intelligent  idea  of  the  works 
of  Ferrucio  Scattola.    In  1894 
his  "Interne  di   San    Marco" 
earned    for    him    the    Premio 
Fumagalli  at.  Milan,  and  with 
the    money    thus    gained    he 
made  his  first  serious  journey 
abroad.     As  a   result   he  ex- 
hibited   at    the    International 
Exposition  at  Venice  in  1895 
a  light  effect  of  snow,  which 
at  once  brought  to  him  one  of 
the  great  art  dealers  with  a 
proposition     that     he     would 
purchase    all    his    subsequent 
works  if  he  would  in  the  fu- 
ture prosecute  his  researches 
in  the  effects  of  light.    Scattola 
refused    this   flattering   offer, 
although   he  was  then   really 
in    need    of    money,    for    he 
could  not   foretell  what   subject  might  at- 
tract him  in   the   future — indeed,  the  very 
next   day.     As   it   turned  out.   this   was   a 
happy  decision  for  him,  for  from  that  day 
honors,    distinctions    and    successes    came 
rapidly. 


— Collection    T.   A.   Beall,  New   York 


i86 


THE     ITALIAN    ARTIST  — 


A    STREET  Iff   PERUGIA 

By   Ftmtccio   Scattola  — International  Exposition   Venice,  1910 


In  1897  his  "Canale  a  Venezia"  was  pur- 
chased by  the  Museum  of  Verona.  In 
1900  the  Gallery  at  Udine  bought  his 
"Chiesa  della  Santissima."  In  1901  the 
National  Gallery  of  Modern  Art  at  Rome 
acquired  his  "Maniscalco"  to  which  in  1906 
the  International  Exposition  at  Barcellona 
awarded  the  silver  medal.  At  Munich  in 
1905  he  received  the  Gold 
Medal  for  his  "Burano  Ad- 
dormentata"  and  in  the  same 
year  the  International  Gallery 
of  Modern  Art  at  Venice  pro- 
cured his  "Campagna  bionda." 
In  1906  the  Museum  at 
Bruxelles  purchased  his  "Al- 
ba" and  in  1909  the  Inter- 
national Gallery  of  Modern 
Art  at  Venice  bought  another 
of  his  works — "La  Sagra  di 
Giovanni.'' 

In  1910  at  the  International 
Exposition  at  Venice  an  en- 
tire room  was  set  apart  for 
an  exhibition  of  his  works, 
and  it  is  not  at  all  surprising 
that  in  this  year  no  less  than 
seven  of  his  works  were  ac- 
quired by  various  museums 


including  the  sale  of  his 
"Notte  di  luna  a  San  Gimig- 
nano''  to  the  French  govern- 
ment and  since  placed  by  its 
sagacious  and  learned  direc- 
tor, M.  Leonce  Benedite  upon 
the  walls  of  the  museum  of 
the  Luxembourg  at  Paris. 
The  Museum  Rivoltella  at 
Trieste  bought  "San  Rufino  in 
Assisi" ;  the  National  Gallery 
of  Modern  Art  at  Rome 
bought  his  "Impressioni  del 
mercato"  and  his  "Le  Crete 
di  Volterra" ;  the  Interna- 
tional Gallery  of  Modern  Art 
at  Venice  his  "II  Duomo  di 
Siena,"  and  the  Pinacoteca 
Querini-Stampalia  of  the 
same  city  his  "Sull,  Arno" : 
"Certaldo"  was  taken  by  the  Gallery  of 
Udine,  while  Margherita,  the  Queen  Moth- 
er of  Italy,  personally  owns  two  paintings 
of  his,  one  purchased  in  1909,  and  the 
other  last  year,  when  on  exhibition  at  the 
International  Exposition  at  Rome. 

Whatever  his  future  may  hold  in  store 
for  him,  we  are  glad  in  the  knowledge  that 


IMPRESSION  OF  THE  MARKET  PLACE  AT  ASSISI 
By  Ferruccio  Scattola 

— Courtesy  National  Museum  of  Modern  Art,  Rome 


FERRUCCIO     SC ATT OLA 


187 


ANCIENT  FURNACE  IN   TUSCANY— 

i International  Exposition,  Venice,  1910;   Exposition 

Buenos  Ayres,  1911) 

B.I/  Ferriiccio  Scattola 


••RESTING"— (Exposition  Buenos  Ayres,  1911) 
B)i   Fcrruccio   Scattola 


MARIA  DELLA  CASTELLANA,  VENICE 
By   Femtccio   Scattola 

— Collection  Charles  L.   Borgmeyer.  Neu;   York 


LA    SALUTE  IN   THE  MOONLIGHT 
By   Ferruccio   Scattola 

— Collection  W.  I.  Auten,  Newark,  N.  J. 


i88 


THE     ITALIAN     ARTIST  — 


SMALL  SQUARE  AT  BURANO 
By   Ferruccio    Scattola 

the  lovers  of  art  in  his  own  country  as  well 
as  those  of  France,  Spain,  Belgium  and 
Germany,  have  honored  his  splendid  ef- 
forts and  high  achievements.  We  do  not 
seek  to  hide  the  great  pleasure  it  gives  us 


to  record  this  fact,  because  Ferruccio  Scat- 
tola  in  his  work  has  revealed  to  us  his  sin- 
cere visions  of  art,  which  are  stronger  than 
reality — visions  which  linger  and  satisfy. 
His  is  an  art  that  will  live. 


White 
Enameled 
Colonial 
Fireplace 


-Courtesy 
Tkt 

Colonial 
Fireplace 
Company 


1 

A  Simple 

Effect  in 

Roman 

Brick 

•  —  Cou  rtesy 

The 

Colonial 

Fireplace 

Company 

"Where 
Fires  of 
Memory 
Burn." 


An 
Old 

Fashioned 
Fireplace 


About  the  Fireplace — Old  and  New 


By    EVELYN    MARIE   STUART 


I  SI  EVERY  heart  there  is  a  little 
something  of  the  fire-worshiper. 
That  strange  blazing  phenomenon  of 
light  and  heat,  of  flying  spark  and  leap- 
ing flame,  of  smouldering  ash  and  glow- 
ing embers,  is  as  mysterious  and  as  fas- 
cinating to  the  most  enlightened  of  us  as 
it  was  to  the  spellbound  and  terrified 
savage,  who  first  observed  it,  or  discov- 
ered the  means  of  producing  it.  Not 
without  reason  did  early  man  worship 
fire,  for  it  was  one  of  the  most  potent  ele- 
ments in  accomplishing  humanity  and 
civilization  among  them  ;  and  not  without 
reason  do  we  still  love  an  open  grate, 
with  an  instinctive  a  f  f  e  c  t  i  o  n — the 
heritage  from  countless  generations  of 
fire-building  and  fire-dependent  an- 
cestors. 

When  we  reflect  that  it  was  through 
the  agency  of  fire  that  Man  was  enabled 
to  prepare  food,  thus  securing  a  wider 


AN  ARTISTIC  FIREPLACE  EFFECT 

— Courtesy  Colonial  Fireplace  Company,  Chicago 


BY     EI/ELYN    MARIE    STUART 


191 


A    COZY    ARRANGEMENT    IX    FIREPLACE    CONSTRUCTION 

— Courtesy  Colonial  Fireplace  Company,  Chicago 


range  of  nourishment,  that  through  fire 
he  forged  weapons  of  defense  and  imple- 
ments of  agriculture,  that  the  discovery  of 
how  to  build  a  fire  was  the  most  important 
discovery  the  race  has  ever  made,  since 
upon  it  hangs  all  our  later  science  and 
manufacture,  the  respect  and  even  rev- 
erence of  pre-historic  man  for  fire  is  not 
a  matter  for  wonder  or  amusement.  Man's 
ability  to  laugh,  to  talk,  to  build  a  fire  and 
comprehend  a  God,  were  indeed  the  things 
which  first  distinguished  him  from  the  rest 
of  the  animal  creation. 

It  was  not  only  the  material  welfare  of 
man.  however,  which  the  building  of  a  fire 
fostered  and  made  possible,  for  his  social 


life,  his  family  life,  his  home  ties  have  all 
been  fused  and  forged  in  the  blazing  fire 
upon  the  hearthstone.  The  earliest  social 
gatherings  of  men  were  no  doubt  gather- 
ings about  a  fire.  Perhaps  the  first  wall 
ever  constructed  was  erected  to  shield  a 
blaze  from  the  wind.  The  hearth  has  been, 
indeed,  the  center,  the  heart  and  the  be- 
ginning of  home.  There'  was  a  deep 
psychological  significance  in  the  old  Ro- 
man worship  of  Vesta,  the  goddess  of  the 
hearth,  in  whose  temple  a  never  dying  fire 
was  kept  burning  by  the  attendant  virgins. 
The  Temple  of  Vesta  was  the  national 
hearth.  In  time  of  war  its  fires 'were  car- 
ried to  a  place  of  safety.  In  an  age  when 


ABOUT     THE     F I  R  E  P  L  A  C  E  —  O  L  D     A  X  D    .V  E  W 


matches  were  unknown  and  other  means 
of  provoking  a  spark  often  unavailable,  the 
wisdom  and  necessity  of  "keeping  a  per- 
manent light"  in  some  public  place,  acces- 
sible to  every  one,  will  be  most  readily  ap- 
preciated. So  it  happens  that  after  long 
generations  the  love  of  a  fire  has  grown 
to  be  an  instinct  of  the  human  heart,  until 
home  is  not  home,  without  a  fireside. 

The  hearth  and  the  home  have  come  to 
be  synonymous  in  our  language,  and  our 
literature,  as  in  our  hearts,  and  thus  it 
comes  that,  in  the  finest  mansions,  equipped 
with  the  most  scientific  heating  apparatus 
of  today,  the  fireplace  still  holds  its  old 
accustomed  supremacy,  and  the  living  room 
without  a  mantelpiece  is  unlivable  and  un- 
thinkable. Most  of  us,  indeed,  in  planning 
the  home  of  our  dreams,  dwell  chiefly  upon 
the  bathroom,  the  veranda  and  the  fireplace. 


and  it  is  in  the  contemplation  of  the  last- 
named  comfort  that  we  find  the  highest 
degree  of  romantic  enjoyment.  Indeed,  for 
its'  romantic  element  and  artistic  value,  as 
a  decorative  accessory  alone,  the  fireplace 
has  won  a  position  of  utmost  security  in 
the  home,  from  which  it  never  can  again  be 
banished.  It  is  the  center  of  attention,  the 
motif  about  which  an  interior  decoration  is 
arranged,  rather  than  a  detail  of  the  ar- 
rangement. This  being  true,  it  behooves 
us  to  study  the  fireplace  a  bit,  with  a  view 
to  developing  its  artistic  possibilities  to  the 
utmost,  and  in  this  study,  we  shall  find  a 
pleasant  and  a  cheering  task. 

Perhaps  of  all  the  fascinating  types  of 
fireplaces  dearest  to  the  American  heart  is 
that  which  suggest  most  persistently  the 
good  old  days  of  the  Colonial  period. 
About  real  old  fireplaces,  in  real  old  homes, 


AMPLE  FIREPLACE  OF  ROUGH  BRICK  RENDERED   EFFECTIVE  BY 

APPROPRIATE   ACCESSORIES  — Courtesy  Colonial  Fireplace  Company,  Chicago 


BYE  V  ELY  N     MARIE     STUART 


DESIGN  PERMITTING  DECOKATION  AT   TWO  LEVELS 

— Cor.rtesy  Colonial  Fireplace  Company.  Chicago 


in  New  England  and  the  South,  there  lin- 
gers a  charm — the  same  fascination  that  at- 
taches to  Colonial  mahogany  and  old  sil- 
ver. Here  is  something  that  has  witnessed 
the  warmth  and  light  of  other  days,  some- 
thing that  has  looked  on  love  and  life  and 
death,  which  therefore  holds  strang"e,  sweet 
secrets  and  memories  of  the  past. 

For  this  reason,  the  new  American  home 
delights  to  show  forth  the  spirit  and  charm 
of  the  old,  and  the  Colonial  style,  in  archi- 
tecture and  furniture,  has  come  to  be 
characteristic  of  America.  The  Colonial 
designs  in  fireplaces  are  therefore  most  ap- 
propriate in  many  American  homes. 


At  the  beginning  of  this  article  will  be 
seen  a  real,  old-time  New  England  fire- 
place— flanked  with  old  splint-bottomed 
chairs,  taken  from  an  old  home  in  Maine — 
"where  fires  of  memory  burn."  On  pages 
198  and  204  are  two  modern  reproductions 
of  other  old  mantelpieces  from  historic 
mansions  in  Massachusetts.  In  the  latter 
we  observe  the  three  panel.  Colonial  mirror, 
so  often  an  adjunct  of  the  old-time  mantel- 
piece. The  severely  simple,  yet  chaste  and 
dignified  lines  of  these  mantels  of  wood  and 
tile,  are  exquisite  and  elegant — suggestive 
of  classic  perfection  in  form.  With  the 
usual  white  enamel  woodwork  and  Colonial 


i  94 


ABOUT     THE    FIREPLACE— OLD     AND    NEW 


mahogany  furniture,  this  type  of  mantel- 
piece proves  ideal,  the  spirit,  the  theme  of 
a  harmony  in  interior  decoration. 

Broadly  speaking  there  are  but  two 
schools  of  American  decorative  art,  the 
Colonial  and  the  modern,  of  which  latter 
the  Mission  and  Arts  and  Crafts  effect  are 
typical.  All  of  our  efforts  along  this  line, 
so  far,  seem  directed  towards  simplicity, 
sometimes  classic  and  graceful,  as  in  the 
Colonial  style,  sometimes  quaint  to  the  point 
of  crudeness,  heavy  to  the  point  of  rude- 
ness, and  plain  to  the  point  of  severity,  as 
in  the  Arts  and  Crafts  and  Mission  effects. 
Both  the  Colonial  and  the  modern  forms  of 
architecture,  furnishing  and  decoration, 
however,  possess  a  suggestion  of  stability, 
dignity  and  sincerity,  charmingly  appropri- 
ate to  a  democratic  people. 

In  fireplaces  these  characteristics  seem 
to  be  doubly  desirable  and  nothing  is  more 


pleasing  than  a  simple  structure  of  plain 
tile,  or  heavy,  rough  brick  in  modern 
bungalow  or  Arts  and  Crafts  interiors. 

Observe  how  delightfully  the  deep,  high 
fireplace  of  rough  brick,  shown  on  page 
201,  strikes  the  keynote  of  this  type  of 
decoration.  The  heavy  side  posts  of  oak, 
with  bands  of  copper,  and  fancy,  opales- 
cent glass  lanterns,  give  the  one  touch  of 
decoration  and  harmonize  the  structure  with 
the  woodwork  of  the  room  itself.  A  very- 
convenient  and  desirable  feature  of  this  fire- 
place is  the  raised  hearth,  with  fender  rail, 
which  renders  a  flat  floor  hearth  unneces- 
sary and  protects  rugs  from  ashes  or  soot. 
The  heavy  andirons  and  swinging  crane, 
with  brass  kettle,  cast  from  an  old  model  of 
excellent  lines,  complete  a  composition 
which  is  eloquent  of  hospitality,  comfort 
and  cozy  cheer. 

In  the  illustration,  on  page  200,  we  ob- 


SIMPLE   FIREPLACE   FLANKED    WITH    ORNAMENTAL   BOOKCASES 

— Courtesy  Colonial  Fireplace  Company,  Chicago 


BY     EVELYN    MARIE    STUART 


195 


A   PUKE  COLONIAL  DESIGN 


— Courtesy  Colonial  Fireplace  Company,  Chicago 


serve  another  fireplace,  model  for  the 
bungalow  or  mission  interior,  a  metal  hood, 
imparting  an  added  suggestion  of  utility. 
Above  the  mantelshelf  a  built-in  cabinet  or 
bookcase,  with  leaded  glass  doors,  gives  a 
note  of  distinction.  A  seat,  with  a  window 
above,  at  one  side  of  this  fireplace,  and  a 
bookcase  at  the  other,  flanking  the  ascent 
of  a  flight  of  stairs,  give  it  a  picturesque 
setting. 

Of  similar  inspiration  was  a  charming 
Dutch  effect  in  warm-toned  brick,  with  in- 
sert of  Delft  tiles,  and  side  arrangement 
offering  a  hob  for  the  kettle  or  the  mug,  a 
cozy  and  hospitable  suggestion.  In  the  de- 
signs shown  on  pages  199  and  206  we  ob- 
serve how  effective  an  arched  opening  may 
be.  The  first  of  these  mantelpieces  is  in- 


deed a  work  of  art,  suitable  for  almost  any 
interior.  The  ornamental  lamps  at  the  sides 
and  the  built-in  niche  above  the  mantel- 
shelf, produce  a  most  unusual  and  charm- 
ing effect,  while  beneath  the  shelf  is  one  of 
the  new  landscape  tiles,  a  picture  in  pottery. 
The  other  design  is  simple,  but  none  the 
less  cheery,  with  its  cornice  of  ornamental 
brickwork  and  its  raised  hearth,  fitted  with 
heavy  railings  of  bolted  metal. 

Illustrated  on  page  203  we  have  an  ex- 
cellent example  of  the  simple  spirit  of  mod- 
ern decoration,  carried  out  to  its  ultimate 
perfection.  Here  the  fireplace  and  book- 
cases fill  the  entire  end  of  the  room, 
and  we  instinctively  feel  that  it  has  been 
built  about  them.  This  arrangement  gives 
a  very  long  mantelshelf,  with  abundant 


I  96 


ABO U T     THE     FIREPLACE— OLD     AND    NEW 


space  for  the  exhibition  of  bric-a-brac  an-d 
objects  of  art.  It  is  a  decorative,  yet  sim- 
ple, arrangement  of  smooth  and  delicate 
finish,  which  is  highly  pleasing.  Here  the 
fireplace  projects  a  bit  into  the  room,  while 
the  bookcases  are  sunk  in  recesses  lighted 
at  each  side  by  a  window  above. 

The  same  idea  is  carried  out  nicely  in 
the  illustration  shown  on  page  198.  How- 
ever in  this  instance  the  fireplace  and  book- 
cases are  arranged  along  the  broad  side, 
instead  of  the  narrow  end  of  the  room. 
This  design  is  particularly  appropriate  for 
a  library,  where  the  bookcases  run  about 
the  entire  room.  Thin  Roman  brick  has 
been  used  in  this  model,  with  very  good 
effect. 

A  good  combination  of  metal  hood,  raised 
hearth  and  quaint,  square  andirons,  is  ef- 
fected in  the  unique  design  shown  on 
page  205.  This  is  another  style,  eminently 
suited  to  the  modern  bungalow,  or  mission 


apartment.  Its  height  is  nicely  propor- 
tioned to  the  rather  low-ceilinged  room,  and 
the  possibilities  of  decoration  at  two  lev- 
els— the  mantelshelf  and  upper  railing — are 
particularly  happy.  This  same  idea  has 
been  nicely  carried  out  in  the  fireplace 
illustrated  on  page  202.  Here,  however, 
the  upper  railing,  by  reason  of  its  width, 
assumes  an  importance  over  the  mantel- 
shelf— an  importance,  however,  in  perfect 
keeping  with  correct  design  and  good  deco- 
ration. 

In  these  designs,  so  delightful  in  every 
detail,  one  grasps  the  true  meaning  of  the 
so-called  "American  renaissance,1'  for  they 
embody  all  that  is  best  in  our  modern  theory 
of  construction  and  decoration.  To  prop- 
erly appreciate  them,  however,  one  should 
be  able  to  observe  the  rich  tone  of  the  brick, 
whose  dull  buff,  red,  russet  and  similar  mel- 
low tones  contribute  not  a  little  to  the 
pleasing  effect. 


C6U.OV4U.  fW£PL4C£, 


A   NEAT  ARRANGEMENT  OF  RAISED   HEARTH,  METAL   HOOD   AND  DOUBLE   MANTEL    SHELF 

• — Courtesy  Colonial  Fireplace  Company,  Chicago 


BY     EV  ELY  N     MARIE     STUART 


197 


.4   COMBINATION  OF  ARCHED  OPENING  AND  RAISED 
HEARTH  — Courtesy  Colonial  Fireplace  Company,  Chicago 


It  is  not  cJhly  in  its  exterior  aspect,  how- 
ever, that  the  fireplace  of  today  often  sur- 
passes that  of  yesterday,  for  its  construc- 
tion, from  a  practical  standpoint  has  been 
very  much  improved  of  late.  The  old 
accusation  against  the  fireplace  was  that  it 
had  a  tendency  to  smoke,  under  unfavorable 
conditions,  and  the  proneness  of  the  heat  to 
pass  up  the  chimney  was  another  deplor- 
able circumstance.  Modern  science  has, 
however,  provided  a  way  to  overcome  these 
difficulties  with  a  damper,  fitted  into  the 
chimney  above  the  fireplace 
and  operated  by  a  key,  or 
button,  from  the  outside. 
Thus,  at  a  touch,  the  draft 
may  be  controlled  and  regu- 
lated, doing  away  with  the 
last  objection  to  the  ever-fas- 
cinating open  fire,  and  ren- 
dering it  a  real  and  efficient 
means  of  heating  a  room  in 
ordinarily  cold  weather. 

A  point  in  favor  of  the  fire- 
place has  ever  been  its  value 
as  a  ventilator,  and  it  still  re- 
mains the  most  perfect  known 
means  of  securing  a  constant- 
ly changing  current  of  air  in 
a  room.  For  this  reason  ar- 
chitects and  builders  every- 
where are  arranging  bed- 


chambers   with    open    fireplaces, 
in  all  of  the  best  houses. 

On  page  206  we  show  a  fire- 
place whose  interest  is  of  a 
strangely  pathetic  kind.  The 
mantelpiece,  erected  in  Korea, 
by  an  American  missionary, 
came  to  notice  through  his  desire 
to  install  therein  the  modern 
damper  appliance,  for  informa- 
tion concerning  which  he  wrote 
to  a  Chicago  manufacturer,  in- 
closing a  picture  of  the  fireplace 
and  relating  a  bit  of  its  history. 
It  is  built  from  bricks  which 
formerly  were  part  of  a  Korean 
oubilette — a  house  of  horror — 
where  the  old  and  helpless  were  taken 
to  starve  and  die,  forgotten  by  the  world. 
This  is,  indeed  a  tragic  commentary  on  the 
inhumanity  of  the  past — but  it  is,  at  least, 
conducive  to  the  comfortable  assurance 
that  the  world  grows  better  all  the  time. 
It  would  almost  seem  that  the  very  bricks 
of  the  old  oubilette  cried  out  for  an  op- 
portunity to  atone  for  the  cruel  use  to 
which  they  had  been  put  in  the  past,  and 
found  a  fitting  means  in  being  shaped  into 
a  thing  of  beauty  and  comfort  and  delight. 


FIREPLACE    CONSTRL'CTED    BY    A    KOREAN   MISSIONARY 
FROM   BRICKS   OF  AN   OUBLIETTE 

— Courtesy  Colonial  Fireplace  Company,  Chicago 


'TWO  FISHERMEN" 


By  Charles  W.  Hawthorne 


"RETURN  FROM  THE  CATCH" 
By  Charles  W.  Hawthorne 


Charles  W.  Hawthorne — Intellectual 

Painter 

By    ROBERT    G.    MdNTYRE 


THOSE  who  have  followed  the  course 
of  American  Art  from  the  Hudson 
River   School  of   Painters  down   to 
the  present  day,  must  be  impressed  with  the 
fact  that  our  artists  are  breaking  away  from 
foreign  influences,  and  are  gradually  estab- 
lishing an  art  distinctly  national  in  charac- 
ter.    Every  year  sees  a  marked  increase  in 
American  individuality. 

Along  with   this   condition   it   must  be 
noted  that  our  art  possesses  certain  char- 


acteristics common  to  every  country  that 
has  practiced  art  to  any  considerable  degree. 
These  characteristics  may  broadly  be  ex- 
pressed as  the  spiritual,  or  that  phase  of  art 
that  addresses  itself  to  the  elemental  prin- 
ciple in  us,  that  reminds  us  of  our  universal 
natures,  and  hints  to  us  of  our  place  in  the 
general  scheme  of  things ;  the  sensuous,  or 
that  phase  of  art,  which,  having  no  pro- 
found thought  to  impress  us,  exists  mainly 
to  please  the  eye ;  and  the  intellectual,  or 


"FISHERMAN'S  WIFE" 
By  Charles  W.  Hawthorne 


Corcoran   Art  Gallery,   Washington,  D.   C. 


INTELLECTUAL     PAINTER 


20  I 


"YOUTH" 
By  Charles  W.  Hawthorne 

that  phase  that  ministers  to  the  mind  and 
experience  of  man. 

Now  just  at  this  period  in  our  country's 
art,  it  is  difficult  to  say  precisely  which  of 
its  two  phases,  the  sensuous  and  the  intel- 
lectual, is  in  the  ascendant.  I  say  the  sensu- 
ous and  the  intellectual,  for  I  believe  I  am 
safe  in  stating  that  many  changes  in  our 
comprehensive  view  of  life  and  morality 
must  take  place  before  the  spiritual,  apart 
of  course,  from  any  strictly  religious  sense, 
can  become  our  leading  characteristic.  For 


though  we  are  gradually  outgrowing  the 
Puritanism  of  our  Pilgrim  Fathers,  much 
of  it  still  remains, "and  the  voices  of  the 
Xew  England  transcendentalists  have  not 
ceased  ringing  in  our  ears.  All  this,  of 
course,  puts  the  burden  of  our  art-expression 
on  the  sensuous  and  the  intellectual.  It  is 
easy,  however,  to  point  to  an  exponent  of 
each  of  the  three  classes  into  which  our  art, 
in  common  with  that  of  other  countries,  is 
divided. 

Xo   more    worthy    representative   of   tlne 


2O  2 


CHARLES     IV.     HAWTHORNE  — 


spiritual  phase  can  be  chosen  than  Arthur 
B.  Davies.  He  is  the  arch-mystic,  the  prime 
worshiper  of  the  essence  of  things,  the  pres- 
ent day  pagan.  And  the  transition  from 
the  spiritual  to  the  sensuous  is  marked  by 
several  well  known  artists,  prominent  among 
them  being  Chilcle  Hassam,  whose  pictures 
are  designed  solely  to  satisfy  our  senses, 
and  this  they  do  to  a  degree  that  is  quite 
astonishing.  The  exponent  of  the  third 
phase,  fully  expresses,  at  least  in  my  opin- 
ion, the  intellectual  in  American  art.  This 
is  Charles  W.  Hawthorne. 


He  is  the  painter  who  speaks  to  us  in 
wonderful  color,  of  youth,  and  old  age,  of 
man  the  individual,  and  of  man  in  his  rela- 
tion to  the  family.  He  is  the  painter  of 
motherhood,  not  strictly  in  the  Madonna 
sense  of  the  term,  for  there  is  not  that  won- 
dering, helpless,  and  sometimes  fearsome 
expression  one  is  so  apt  to  see  in  the  con- 
ventional Madonna  pictures ;  but  in  a  truly 
matter-of-fact  way  he  pictures  the  mother 
as  she  holds  her  baby  in  her  arms,  feeds  it. 
or  plays  with  it  as  all  mothers  do.  There 
is  nothing  in  these  interpretations  that  can 


"THE  FAMILY" 

By  Charges  W.  Hawthorne 


— Collection  Chas.  K.  Fox,  Haverhill,  ilast. 


INTELLECTUAL     PAINTER 


203 


strictly  be  called  symbolic,  but  there  is  all 
that  love  and  tenderness  and  solicitude  that 
the  modern  mother  has  for  her  child. 

Now  let  us  stop  awhile  and  think  a  little 
about  the  beginnings  of  Hawthorne's  art 
career.  Born  in  1872  of  parents  in  very 
modest  circumstances,  Hawthorne's  early 
life  was  mostly  spent  in  Maine,  where  he 
was  frequently  thrown  in  contact  with  the 
humble  New  England  fishermen,  destined 
later  to  play  so  important  a  part  in  the  for- 
mation of  his  ideals.  When  he  was  about 
eighteen  years  old  he  came  to  New  York 
and  obtained  employment  in  a  stained-glass 
shop.  It  was  here,  no  doubt,  that  he  got 
his  first  real  liking  for  art,  and,  with  a  view 
of  becoming  more  proficient  as  a  designer, 
attended  the  night  classes  of  the  Art  Stu- 
dents' League. 

He  once  told  me  that  at  this  time  he  had 
no  idea  of  ever  becoming  a  painter,  but 
entered  the  class  in  Design  simply  to  better 
his  business  prospects.  Gradually,  however, 
he  abandoned  this  idea,  and  joined  the  Il- 
lustration Class,  where  he  studied  for  a 
considerable  period.  It  was  but  a  step  from 
this  to  the  Life  Class,  and  the  tide  was 
turned.  Here  he  definitely  decided  to  make 
painting  his  profession,  and  continued 
working  in  the  class  to  this  end,  finally  giv- 
ing up  business  to  become  associated  with 
Chase  and  his  famous  school  in  the  Shinne- 
cock  Hills,  in  Long  Island.  A  little  later 
he  became  the  manager  of  this  school. 

In  1898  Hawthorne  went  to  Holland,  and, 
as  was  natural  to  a  young  painter,  seeing 
for  the  first  time,  the  Old  World's  great 
masters,  immediately  fell  under  their  spell. 
Of  course  the  chief  spell-binder  was  Rem- 
brandt, and  him  he  studied  with  all  the 
ardent  fire  of  youth  and  ambition. 

Remembering.  I  suppose,  his  early  asso- 
ciations with  the  Maine  fishermen,  Haw- 
thorne settled  for  a  time  on  the  sea-coast 
and  painted  the  fisherfolk  there.  This  ex- 
perience in  Holland  seemed  to  decide  for 
him  what  phase  of  life  was  best  suited  to 
his  self-expression,  and  from  this  time  to 


his  very  latest  pictures  he  has  transcribed 
from  the  lives  of  the  lowly  fishers. 

Now  it  must  be  understood  that  although 
almost  every  canvas  reflects  some  incident 
in  the  life  of  these  people,  Hawthorne  does 
not  paint  them  simply  for  their  own  sake, 
as  for  instance,  Breton  painted  the  peasants 
of  Artois,  but  the  ideas  they  afford  him  he 
develops  and  makes  applicable  to  the 
greater  part  of  human  experience.  For  in- 
stance, if  he  paints  a  young  fisher  boy  and 
girl  standing  arm-in-arm,  and  gazing  stead- 
fastly before  them,  each  wrapped  in  his  and 
her  own  thoughts,  and  if  he  calls  this  par- 
ticular subject  "Youth,"  he  means  not  only 
youth  as  applied  to  these  poor  fishers,  but 
the  whole  of  youth,  or  rather,  youth  in  the 
abstract.  It  is  because  he  loves  these  sim- 
ple people,  and  understands  them  so  thor- 
oughly, that  he  uses  them  as  a  base  upon 
wlr'ch  to  build  and  expound  his  ideas  on 
life. 

But  to  go  back.  After  Hawthorne  re- 
turned from  his  first  trip  abroad  he  estab- 
lished himself  in  Provincetown,  situated  in 
that  quaint  region  of  the  Massachusetts 
coast  known  as  Cape  Cod.  Here  he  gath- 
ered a  few  pupils  around  him,  and  this 
small  number  steadily  increased  until  now 
the  "Cape  Cod  School  of  Art"  is  known  the 
country  over.  Here,  too,  Hawthorne  be- 
c.ime  even  better  acquainted  with  the  fisher- 
men, American  and  Portuguese,  by  whom, 
principally,  this  part  is  peopled.  He  work? 
with  them,  shares  the  dangers  of  deep-sea 
fishing  with  them,  knows  their  domestic 
side,  and  is.  in  a  word,  one  of  themselves. 
From  Provincetown  have  come  some  of  his 
very  finest  pictures,  among  them  "Youth," 
"The  Family,"  "The  Trousseau,"  which  I 
will  mention  more  at  length,  later  on. 

A  second  trip  abroad  was  made  in  1906. 
This  time  the  call  came  from  Italy  where 
the  genius  of  Titian,  Tintoretto,  and  of 
other  famous  Venetians,  stirred  his  love  for 
color  as  martial  music  stirs  the  patriot's 
soul. 

Comparing  his  own   work   with   that  of 


204 


CHARLES     IV.     HAWTHOR  X  E  — 


"THE   TROUSSEAU" 

By  Charles  W.  Hawthorne 


these  men,  and  especially  with  that  of 
Titian,  Hawthorne  realized  that  his  color 
was  lacking  in  that  wonderful  richness  and 
resonance,  that  alluring  subtlety,  which  are 
the  immortal  features  of  the  art  of  these 
great  painters.  At  once  Hawthorne  set 
himself  to  the  problem  of  making  his  color 
richer  and  more  pregnant  than  heretofore. 
How  well  he  succeeded  in  this  is  evident  to 
all  who  are  familiar  with  the  pictures 
painted  prior  to  this  p  e  r  io  cl  and  those 


— Metropolitan  Museum  of  Art 

painted  after.  It  was  at  this  time,  too,  that 
he  experimented  with  mediums,  finally  de- 
ciding on  tempera  as  being  best  suited  to 
his  purpose.  Since  then,  I  do  not  believe 
that,  with  the  possible  exception  of  a  few 
small  sketches,  he  has  painted  a  single  pic- 
ture in  any  other  medium. 

The  time  spent  in  Italy  seemed  to  give 
him  fresh  stimulus,  and  to  endow  him  with 
a  clearer  conception  of  life,  but  above  all 
did  it  enlarge  and  enrich  his  feeling  for 


I  X  TELL  EC T UAL     PAINTER 


205 


color  to  a  degree  he  had  never  dreamed  of. 

Back  once  more  in  America  Hawthorne 
produced  pictures  far  and  away  ahead  of 
anything  he  had  done  before.  Notable 
among  these  is  his  "Youth"  of  a  few  years 
ago,  and  now  in  the  collection  of  Mr.  Chas. 
K.  Fox,  Haverhill,  Mass.  Though  the  re- 
production here  conveys  very  little  idea  of 
the  superb  coloring,  nevertheless,  it  gives 
one  a  splendid  impression  of  the  profound 
sentiment  this  picture  contains.  Here  is 
youth  in  its  full  vigor,  capable  of  conquer- 
ing worlds ;  youth  upon  which  the  success 
of  nations  ultimately  depends ;  youth  the 
very  existence  of  the  family.  And  how 
simply  the  artist  told  us  all  this.  Though 
a  most  conventional  subject  he  has  treated 
it  in  an  absolutely  personal  way.  It  is  not 
prosy,  nor  yet  a  mere  story  with  a  moral, 
but  thought,  colorful  and  poetically  clothed. 
It  is  intellectual  painting. 

A  companion  to  "Youth"  as  concerns  its 
intellectuality  is  "The  Trousseau"  in  the 
Metropolitan  Museum,  and  also  reproduced 
here.  This  picture  received  the  Clarke 
Prize  in  the  1911  Spring  Exhibition  of  the 
Xational  Academy,  and  is  the  only  instance 
in  the  history  of  this  institution  of  a  picture 
being  awarded  a  prize  by  unanimous  deci- 
sion. A  record  in  itself ! 

I  have  said  that  this  picture  ranks  with 
"Youth"  in  its  intellectual  elements.  This 
it  surely  does,  for  the  expression  of  the 
young  bride-elect's  face  is  one  of  profound 
contemplation.  Plainly  she  is  thinking  of 


the  new  role  she  will  soon  be  called  upon 
to  play,  and  the  occasion  of  her  being  "fitted 
out"  against  that  day  seems  to  have  but 
little  effect  on  her.  Sterner  thoughts  than 
her  trousseau  occupy  her  mind. 

In  itself  the  picture  is  beautifully  painted  ; 
the  white  of  the  young  girl's  bodice  is  ex- 
quisite, and  the  face  of  the  old  dressmaker 
is  remarkable  as  a  character  study.  On  the 
whole,  however,  its  color  does  not  glow 
with  the  warmth  and  brilliancy  of  "Youth" ; 
it  is  more  sombre,  but,  nevertheless,  agree- 
able. 

"Fisherman's  Wife,"  recently  purchased 
by  the  Corcoran  Gallery,  in  Washington,  is 
a  masterly  example  as  regards  both  color 
and  its  dignified  interpretation  of  Mother- 
hood. So  also  is  "Mother  and  Child," 
owned  by  the  Syracuse  Museum. 

Powerful  are  the  drawing  and  expression 
of  the  father  in  "The  Family."  His  fea- 
tures are  invested  with  a  happy  confidence 
and  a  dignified  sense  o  f  leadership.  The 
colors  in  this  picture  are  quiet,  and  of  an 
exceeding  richness,  and  without  doubt  "The 
Family"  will  rank  with  the  finest  character 
studies  painted  throughout  the  ages. 

Enough  has  now  been  said  to  give  the 
reader  an  idea  of  the  direction  of  Haw- 
thorne's art,  and  of  his  merits  as  a  painter 
of  the  intellectual  aspect  of  life.  And  it  is 
indeed  gratifying  to  know  that  the  country's 
big  museums  are  stepping  forward  to  se- 
cure examples  of  his  work  for  their  perma- 
nent collections. 


66e  Perfect 
Cleanser 


"It's     the    Borax     with    the     Soap    that    does     the    work1 


The  Effect   on   Real   Estate  Values   of  the 
Fulfillment  of  the  ''Chicago  Plan" 


By  FREDERICK  STANLEY  OLIVER 

President  of  the  Chicago  Real  Estate  Beard 


IX  ANY  discussion  of  the  subject  it  is 
well  first  to  set  forth  the  general  features 
of  the  "Chicago  Plan''  as  well  as  what 
may  be  termed  the  collateral  benefits.  These 
features  may  be  outlined  as  follows : 

The  restoration  to  the  people  of  Chicago 
of  miles  of  water  front  on  the  lake,  which 
would  make  possible  the  establishment  of 
outer  harbors,  an  outer  park  of  over  1,500 
acres  containing  a  grand  driveway  connect- 
ing Grant  and  Jackson  Parks,  pleasure  piers 
projected  far  out  into  Lake  Michigan,  bath- 
ing beaches,  lagoons  for  pleasure  boats, 
rowing  regattas,  etc. ; 

The  improvement  of  Grant  Park ; 

The  installation  of  a  yacht  harbor  outside 
of  Grant  Park ; 

The  completion  of  a  system  of  outer 
highways  encircling  the  city,  95%  of  which 
now  exist; 

The  creation  of  what  is  termed  the 
Quadrangle,  containing  what  may  be  called 
Business  Chicago,  bounded  on  the  north  by 
Chicago  avenue ;  on  the  east  by  Michiagn 
Boulevard,  (the  great  connecting  link  be- 
tween the  North  and  South  Sides)  ;  on  the 
south  by  1 2th  street;  and  on  the  west  by 
Halsted  street  (or  some  nearby  thorough- 
fare), it  being  contemplated  to  have  all 
boundary  streets  of  a  width  of  not  less  than 
100  feet ; 

The  establishment  of  a  Civic  Center  at 
Congress  and  Halsted  streets,  with  Con- 
gress street  as  the  great  axis ; 

Diagonal  thoroughfares  radiating  in  all 
directions : 

Small  parks,  plazas,  etc.  Among  the  col- 
lateral benefits  may  be  named : 


The  undoubted  removal  to  the  outskirts 
of  the  city  of  all  freight  transfer  yards ; 

The  placing  of  all  railroad  passenger  ter- 
minals now  situated  on  the  South  Side 
along  the  south  line  of  I2th  street,  where 
it  is  proposed  to  locate  them  in  a  group  of 
magnificently  built  structures,  with  ample 
facilities,  thus  ridding  the  central  business 
district  of  them  and  effectuating  an  exten- 
sion of  the  main  business  district  south- 
ward ; 

The  through  routing  of  surface  cars ; 

The  doing  away  with  the  unsightly  ele- 
vated railroad  loop  and 

The  installation  of  subways,  wherein  are 
to  run  through  trains  of  the  elevated  rail- 
roads, destined  from  city  end  to  city  end 
in  all  directions. 

The  "Chicago  Plan"  is  a  plan  to  direct 
the  future  grozvth  of  the  city  in  an  orderly 
systematic  wa\.  The  object  of  the  Plan  is 
to  make  Chicago  a  "real  centralized  city, 
instead  of  a  group  of  overcrowded,  over- 
grown villages."  Above  everything  else 
"it  is  concerned  with  the  three  most  vital 
problems  confronting  every  metropolitan 
community — congestion,  traffic  and  public 
health." 

The  fulfillment  of  the  "Chicago  Plan," 
in  whole  or  in  part,  is  conditioned  of  course 
upon  the  exercise  by  the  citizens  of  Chi- 
cago generally  of  that  public  spirit,  which, 
upon  many  occasions  in  the  past  has  been 
most  strongly  manifested,  and,  which  far 
and  wide  has  been  characterized  as  the  "I 
will"  spirit  of  Chicago. 

On  this  score,  at  the  recent  annual  ban- 
quet of  the  Chicago  Real  Estate  Board,  the 


"THE     PLAN      TO     .MAKE     CHICAGO     BEAUTIFUL 


207 


writer  in  an  appeal  for  a  new  manifestation 
of  this  spirit  said: 

"Chicago,  the  metropolis  of  the  great  Missis- 
~ippi  Valley,  destined  yet  to  be  the  greatest  city 
in  this  land  of  opportunity,  is  on  the  eve  of  a 
wonderful  development.  Those  public-spirited 
citizens  who  have  given  liberally  of  their  time 
and  money,  whose  keen  foresight,  and  whose 
wide  view  of  their  city's  future  needs,  have 
awakened  them  to  a  realization  that  now  is  the 
time  to  make  a  beginning— those  public-spirited 
citizens,  I  say.  who  have  given  of  their  time  and 
their  means  toward  the  development  of  that  great 
conception,  the  'Chicago  Plan,'  need  your  help, 
and  the  help  of  every  active,  thinking,  'doing' 
man  in  this  community.  Think  what  it  means  to 
our  city  to  have  a  widened  12th  street —  a  great 
broad  highway  from  the  congested  districts  of 
the  west  side  to  the  lake  front,  where  the  poor 
may  come  to  mingle  with  nature  and  to  slake 
their  thirst  for  health-laden  air  at  the  brink  of 
old  Michigan :  what  it  means  to  have  North 
Michigan  boulevard  widened  and  extended  to 
Chicago  avenue,  with  a  proper  and  befitting 
bridge  over  our  Grand  Canal :  what  it  means 
to  have  at  the  mouth  of  the  Chicago  River,  an 
outer  harbor — as  well  as  to  possess  modern 
bridges  for  the  great  thoroughfares  that  cross 
the  river ;  realize,  if  you  can,  the  importance  to 
our  city  of  the  proposed  subway  system,  and  then 
stand  with  us — stand  with  The  Chicago  Real 
Estate  Board — in  demanding,  First,  of  the  Na- 
tional Government,  that  its  policy  toward  new 
harbor  facilities  for  Chicago  be  one  of  doing 
instead  of  delaying ;  that  when,  for  instance,  it 
orders  the  old-fashioned  center  pier  bridges  out 
of  the  river— that  the  order  be  obeyed :  Second. 
of  the  city  government,  that  when,  with  blare  of 
trumpets  it  announces  'Subways  for  the  strap- 
hanger' it  give  us  subways  and  not  excuses — 
that  tongue  and  pen  give  place  to  pick  and  shovel ; 
that  when  it  promises  12th  street  widened,  it 
delay  not,  but  render  results :  that  instead  of 
talk  about  an  outer  harbor,  it  begin  work  on  an 
outer  harbor,  and  that  when  the  people  have 
voted  funds  for  the  erection  of  new  bridges,  the 
least  the  people  are  entitled  to  are  new  bridges 
and  not  plans. 

Deeds  instead  of  words  are  what  are  now 
wanted,  and  The  Chicago  Real  Estate  Board,  in 
behalf  of  the  people  of  Chicago,  demands  that 
deeds  be  forthcoming. 

In  this  connection  I  wish  to  give  expression 
briefly  to  a  thought  suggested  by  the  more  or 
less  serious  opposition  which  has  recently  devel- 
oped against  a  great  undertaking.  It  is  that, 
despite  the  progressive  spirit  of  its  people.  Chi- 


cago has  suffered,  and  is  suffering  from  an  ap- 
parently too-ready  willingness  on  the  part  of 
many  of  its  people  to  block  great  public  works, 
absolutely  essential  to  the  city,  if  it  is  ever  to 
realize  the  incomparably  brilliant  destiny  that  is 
within  its  reach. 

In  a  great  city  like  this,  made  up  of  so  many 
heterogeneous  elements,  it  would  be.  of  course, 
too  much  to  expect  on  any  important  matter 
anything  approaching  unanimity  of  opinion,  but 
it  does  not  seem  unreasonable  to  look  for  it 
occasionally  when  the  best  thought  of  broad- 
minded  public-spirited  citizens,  eminently  quali- 
fied to  pass  an  intelligent  opinion,  have  indi- 
cated the  undoubted  wisdom  of  a  certain  line  of 
action.  Yet  it  is  difficult  to  recall  any  great  pro- 
posed public  work,  which  has  been  frequently 
given  years  of  patient  and  intelligent  study, 
which  has  not  felt  the  virulent  assault  of  an 
oftimcs  ignorant  and  selfish,  but  too  frequently 
sordid  opposition.  Sometimes  it  is  due  to  an 
honest  and  differing  opinion,  but  more  often  to 
a  narrow  and  unreasonable  selfishness ;  some- 
times to  prejudice,  especially  where  corporations 
are  concerned,  and  too  often  to  a  demagogic 
assault  for  political  advantage. 

Manifest  public  benefits  of  the  greatest  mo- 
ment to  the  city's  welfare  are  ignored  and  a 
football  literally  made  of  its  destiny. 

The  time  has  come  for  intelligent  progressive 
public  opinion  militantly  to  assert  itself,  if  Chi- 
cago is  ever  to  achieve  the  greatness  which  op- 
portunity has  placed  at  her  door." 

And  the  writer  has  no  doubt  that  the  citi- 
zens of  Chicago  generally  realize  this  and 
will  avail  themselves  of  the  opportunity — 
as  represented  by  a  fulfillment  of  the  "Chi- 
cago Plan."  "To-day  all  the  world  knows 
that  what  Chicago  Wills  to  have  created 
Will  be  created,  and  what  she  wants  done 
Will  be  done." 

Now  in  a  business  way  what  will  the  ful- 
fillment of  this  plan  mean?  Will  it  draw 
to  Chicago  the  vast  amount  of  money  that 
is  spent  yearly  in  so  many  of  the  attractive 
cities  of  the  world?  The  answer  would 
seem  to  be  self  evident.  With  a  present 
population  of  40.000,000  or  more  living 
within  approximately  a  night's  ride  of  Chi- 
cago, with  a  climate,  especialy  in  summer 
of  the  resort  variety,  with  a  water  and  park 
front  unequalled  in  the  world,  "giving  us  a 
yacht  harbor  and  a  center  for  boating  rival- 
ing the  famed  course  at  Henley  on  Thames, 


208 


"THE     PLAN      TO     MAKE     CHICAGO     BEAUTIFUL 


the  greatest  water  pleasure  course  on 
earth,"  with  magnificent  highways  leading 
into  the  city  from  all  directions,  and,  with 
splendid  boulevards  within  the  city,  who 
shall  doubt  for  a  moment  that  Chicago  will 
be  the  magnet  to  attract  the  pleasure  seek- 
ing ones  of  these  milions?  And  outside 
these  millions  are  people  of  all  countries 
and  of  all  climes  who  gravitate  to  the  show 
places  of  the  world,  there  to  spend  their 
money  in  ease  and  luxury. 

Everyone  knows  the  commercial  prosper- 
ity of  Chicago  has  been  very  largely  created 
by  reason  of  her  excellent  rail  and  water 
facilities  for  the  handling  of  merchandise. 
The  Plan  contemplates  the  improvement  of 
both  to  the  highest  possible  degree,  for  the 
framers  of  the  Plan  fully  realize  that  "it  is 
the  cost  per  ton  of  handling  freight  into  and 
out  of  Chicago  that  measures  our  city's 
commercial  prosperity."  A  realization  of 
this  improvement  will  be  the  loadstone  to 
draw  to  Chicago  many  and  diversified  com- 
mercial interests  that  now  abide  elsewhere, 
the  location  of  which  in  our  city  will  mean 
an  addition  to  the  ctiy's  wealth  too  great  to 
compute. 

The  first  constructive  work  of  the  Plan — 
what  may  be  termed  the  foundation  stone — 
is  the  completion  of  the  Quadrangle  re- 
ferred to  above.  The  widening  of  Michi- 
gan Boulevard,  extended  north  from  Ran- 
dolph street  to  Chicago  avenue,  and  of  I2th 
street  from  Michigan  Boulevard  to  Halsted 
street — with  the  installation  of  new  bridges 
crossing  the  River  in  each  thoroughfare — 
is  the  "initial  step  in  the  constructive  work 
of  developing  the  plan  as  a  whole."  Work 
on  both  these  projects  is  now  being  dili- 
gently pursued.  The  completion  of  the 
whole  Plan  will,  of  course,  take  years. 

Now  as  to  the  effect  on  real  estate  values 
of  the  fulfillment  of  the  Plan !  It  is  a  mat- 
ter of  common  knowledge  that  those  cities 
of  the  world  that  by  their  beauty  and  at- 
tractiveness draw  crowds  of  pleasure  seek- 
ers reap  a  reward  that  is  reflected  in  sub- 
stantial and  wealth  producing  realty  values. 


When  to  this  power  to  draw  pleasure  seek- 
ers is  added  the  capacity  to  attract  by  facili- 
ties for  handling  business  cheaply  great 
commercial  enterprises  how  much  greater 
should  be  the  reflection  in  substantial  and 
wealth  producing  realty  values?  But  leav- 
ing generalities  aside,  and.  getting  down  to 
results  in  specific  cases !  It  is  only  neces- 
sary to  recall  the  recent  sharp  advance  in 
values  of  real  estate  along  Michigan  Boule- 
vard, Wabash  avenue  and  State  street  in 
the  neighborhood  of  I2th  street,  when  the 
announcement  was  made  of  the  consumma- 
tion of  the  contract  between  the  South 
Park  Commissioners  and  the  Illinois  Cen- 
tral railroad — providing  for  certain  im- 
provements forming  a  part  of  the  "Chicago 
Plan";  or  again  on  West  I2th  street  when 
it  became  known  that  the  city  had  decided 
to  widen  that  thoroughfare  from  Michi- 
gan Boulevard  to  Halsted  street,  to  dem- 
onstrate how  widespread  the  increase  in 
realty  values  would  be  were  the  full  Plan 
to  be  realized.  I  believe  that  the  comple- 
tion of  each  successive  step  in  the  general 
Plan  will  not  only  bring  forth  great  in- 
creases locally  where  the  particular  im- 
provement is  made,  but.  will  create  added 
values  generally.  Furthermore,  I  am  con- 
vinced that  anything  like  a  fulfillment  of 
the  entire  plan,  along  with  the  collateral 
benefits  referred  to  at  the  beginning  of  this 
article,  will  cause  an  enhancement  of  realty 
values  many  times  in  excess  of  the  cost  of 
the  improvements  provided. 

If  owners  of  real  estate  in  Chicago  are 
wise  they  should,  if  for  no  other  than  a  self- 
ish reason,  lend  a  willing  hand  to  those  who 
seek  a  consummation  of  the  "Chicago 
Plan." 


APPLIED  ART  PAYS 


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No  home  is  as  beautiful  as  it  might  be   unless   it   has 

MORGAN  GHUAARARNToEEilSRg(S  DOORS 

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interior  views. 

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No.  2570.     Louis  XIV  Suite 

3  Pieces,  consisting  of  Sofa,  Arm  Chair  and  Side  Chair.     Frames  of  Solid  Mahogany  or  Walnut.    Covered  in  Panne 
Plush  or  Fine  Tapestry.    Any  one  of  the  pieces  may  be  purchased  separately. 


No.  5324. 
English    Hall    Chair 

Oak  or  Solid  Mahogany. 
Cane  Back.  Seat  covered 
in  Brocaded  Damask. 


No.  4956. 

Queen  Anne  Fireside 
Chair 

An  exact  reproduction. 
Covered  in  imported  Tapes- 
try or  Silk  Velour. 


Furniture  of  Elegance  and 
Distinction 

The  possession  of  good  examples  of  furniture  style  is  not  so  much 
a  matter  of  cost  as  it  is  of  selection. 

You  solve  this  question  by  choosing  designs  of  makers  who  are 
imbued  with  ideas  of  art,  and  whose  creations  are  a  source  of  pride  to 
themselves. 

In  the  making  of  upholstered  furniture,  it  is  rare  to  find  makers 
who  regard  their  productions  as  anything  more  than  mere  commercial 
furniture-merchandise  simply  made  to  sell.  Otherwise  these  makers 
would  stamp  their  names  on  their  furniture  for  identification.  But 
all  these  makers,  save  one,  fail  to  mark  their  productions.  All,  save 
one,  refuse  to  come  forward  and  give  you  any  guarantee  of  satisfac- 
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tection on  every  purchase  and  that  one — the  maker  of 

Karpen 

Guaranteed  Upholstered 

Tiirniture 

This  furniture  is  of  exquisite  design.  Whether  the  pieces  be 
reproductions  of  examples  of  earlier  centuries  or  their  modernized 
adaptations,  or  original  creations  on  classic  lines,  Karpen  Furniture 
stands  without  a  peer. 

Our  free  Instruction  Design  Book  F.  A.  has  much  information  of 
an  educational  nature.  Send  for  it.  Read  it  and  you  will  be  able  to 
choose  with  more  appropriateness  and  make  purchases  with  greater 
wisdom. 

Permanent  exhibits  are  maintained  in  the  following  cities  and 
you  are  cordially  invited  to  visit  them. 

S.  KARPEN  &  BROS. 


Karpen  Building 
CHICAGO 


Karpen  Building 
NEW  YORK 


20  Sudbury  Street 
BOSTON,  MASS. 


No.  2403.     English  Sofa 


Luxuriously  upholstered  in  _finest  hair  and   down.    Covered  in  Karpen 
Sterling  Genuine  Leather  or  Wool  Tapestry. 


No.  4741. 

William    and    Marv 
Chair 

Oak  or  Solid  Mahogany. 
Imported  Tapestry  Cover- 
ing. 


~ — 


No.  5348.  Arm  Chair 

Covered  in  Karpen  Ster- 
ling Genuine  Leather.  In 
modified  English  design. 


FLOPID 


Through  the  Land  of  Scenic  Beauty 

VIA 


P         r^    in-      nr> 
hicacjo  fcLastern  1 1 1  i  nois  K.K. 


THE  luxurious  train  de  Luxe  of  the  Chicago  and  Eastern  Illinois 
leaves  La  Salle  Street  Station  at  9:10  P.  M.  every  day  in 
the  year.     Nothing  but  the  newest  equipment  throughout — 
electric  lighted  Pullman  drawing  room  sleepers  and  compartment 
observation   cars.    Dining  car,  meals  served  a  la  carte,  between 
Evansville  and  Atlanta. 

The  route  is  over  the  green  covered  mountains  of  Kentucky, 
Tennessee  and  Georgia,  around  Lookout  Mountain,  the  scene  of  one 
of  the  mightiest  conflicts  of  the  Civil  War,  through  the  cottonfield 
and  the  quaint  old  Southern  towns  of  Georgia  to  the  Florida  coast, 
arriving  at  Jacksonville  early  the  second  morning. 

Reduced  rate  tourist  tickets  now  on  sale. 
A.  B.  SCHMIDT, 

General  Agent  Passenger  Department 


108  West  Adams  Street 
Tel.  Harrison  5115,  Automatic  52377 


La  Salle  Street'Station 
Tel.  Harrison  1408,  Automatic  53495 


EVANSVILLE  ROUTE! 


Teco 

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GALLERIES 

OF  THE 

ARTIST'S   GUILD 

A  Selected  Collection  of 
PAINTINGS 

SCULPTURE 

ETCHINGS 

MINIATURES 

Handwrought  Objects  of  Art  in 
JEWELRY— SILVERWARE- 
PORCELAIN— LEATHERWORK,  ETC. 

Special  orders  executed  by 
Master  Workmen. 


American   ! 


i    Artists 


The  Art  Institute 
Art  School 

of  Chicago 

M.  R.  FRENCH,  Director    W.N.  H.  CARPENTER,  Secretary 


Drawing,  Painting,  Sculpture,  Illustration,  De- 
signing, Architecture  and  Normal   Instruction. 

Illustrated  information  may  be  had  by  addressing 
RALPH  HOLMES 

THE  ART  INSTITUTE,  Michigan  AT., 


Macbeth  Gallery 


Paintings 

by 

American  Artists 


Announcements   of 

Exhibitions  will  be  mailed 

on  request. 


William  Macbeth 

45O  Fifth  Avenue.  New  York 


OUR  BOOKLET  ON 

Pergolas  ^i  Garden  Accessories 

might   be  of  some   interest   to  you.      Seed  for  catalog  X27. 

H  Our  designing  department  Is  at  your  disposal  to 
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the  garden.  Upon  application  we  will  submit  you  a 
sketch  of  a  pergola  to  suit  the  space  that  you  might 
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HARTMANN-SANDERS  CO. 


Koll's 


Manufacturers 
Patent   Lock  -  Joint    Columns 


Elston  and  Webster  Ave.,    Chicago 

1123  Broadway,  New  York  City 


The  Army  &  Navy  Magazine  in  June   number 
makes  the  following  statement  in  regard  to 


R  A 

Lucca 

Olive 

Oil: 

Approved  by  the  Government. 

The  department  of  Agriculture  has 
issued  a  publication,  "Olive  Oil  and  It« 
Substitutes,"  which  places  the  Govern- 
ment's stamp  of  approval  on  Samuel  Rae 
&  Company's  Lucca  Olive  Oil,  as  an  im- 
ported Olive  Oil  which  is  not  adulterated 
and  which  has  never  been  found  to  be 
otherwise  than  absolutely  pure.  This  oil 
is  prepared  in  Leghorn,  Italy,  and  is  for 
sale  by  Sprague,  Warner  &  Company, 
Chicago,  Illinois.  Commissary  officers  tn 
the  Army  and  Navy  and  individual  read- 
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interesting  reading.  Sprague,  Warner  & 
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This  big  Chicago  House  supplies  all 
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ART  ACADEMY 

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unsurpassed  facilities  for  serious  work 
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POK   CATALOG   ADDRESS 

G.  H.  GEST.  Director,  Art  Mtuenin.  CINCINNATI 


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SPECIALIST 


A  Day  of 

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THE  strenuous  life  we  are  leading  demands  the  aid 
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Don  Lyle  has  made  a  study  of  suffering  feet  for  over  a 
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Telephone  or  write  for  appointments. 

PHONE    CENTRAL  5108 
AUTO.    43-906 

Address — 

DON     LYLE 

1323  Masonic  Temple,  Chicago 

159  North  State  St. 


City  Hall  Square 
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127-139  North  Clark  Street 
CHICAGO 


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•  •;;.!:,  •?  n 

'    -  /"* l    t~\cc. 


General  Office: 

305  Harvester  Building         Michigan  Avenue 

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Do  YOU  ever  stop  to  figure  out  why  it  is  that  a  concern  is  successful  and 
grows?  It  is  because  their  business  methods  and  their  output  are  in  demand.  WE 
have  grown,  as  you  know,  and  we  CONTINUE  to  grow.  Our  capacity  is  now 
found  to  be  insufficient  for  the  present  demands  and  when  spring  is  firmly  estab- 
lished, an  addition  to  our  plant  is  to  be  started. 

Mind  you,  there  is  some  significance  to  a  condition  such  as  this! 

It  means  something. 

Let  us  do  that  work  that  you  have  had  so  much  trouble  with  and  let  us  give  you 
full  satisfaction. 

MANZ  ENGRAVING  COMPANY 

THE  HOLLISTER  PRESS 

Main  Office  and  Works:     4001-43  E.  Rarenswood  Park 
Sales  Office:    22  W.  Monroe  Street 


CENTRAL 


.MISSISSIPPI 


VALJ.EY 


RDUTE 


w\ 


All  the  conveniences  and  comforts  of  travel 
on  the  Central's  three  daily  trains  between 

CHICAGO 


AND 


ST.  LOUIS 

ALL-STEEL    DAYLIGHT    SPECIAL 

Lvs.  Chicago  10.02  a.m.,  Ars.  St.  Louis  6.02  p.m.  via  Merchants'  Bridge 

Indestructible  steel  cars,  the  underframes  of  which  are  a  single  steel  casting, 
hence  no  rivets  or  bolted  joints.  Train  equipped  with  Observation  Parlor 
Car,  Cafe -Club  Gar,  Coach  and  Combination  Coach  and  Baggage  Car. 

MIDNIGHT  TRAIN  Leaving  CHICAGO  1 1.45  P.M. 

Diamond  Special,  arriving  at  St.  Louis  at  7.49  a.m.  via  the  Merchants' 
Bridge.  Handsomely  equipped.  Evening  Train,  St.  Louis  Express,  leaving 
Chicago  9.10  p.m.,  arriving  at  St.  Louis  7.24  a.m.  Trains  Electric  Lighted. 

OILED   ROADBED 

Tickets,  fares,  particulars  of  train  schedules,  etc.,  of 
agents  of  Illinois  Central  Railroad  and  connecting  lines. 


S.  G.  HATCH,  Pass.  Traffic  Mgr. 


H.  J.  PHELf  S.  Gen.  Pass.  Agent,  CHICAGO 


'Real  Estate  the  Basis  of  Jill  Security! 


Can     you     imagine     any 
investment   more   secure   than 

CHICAGO  BUSINESS  PROPERTY 


That  is  MORE  CERTAIN  OF  RETURNS? 
or  that  offers  better  inducements 
for  the  increase  of  one's  principal? 

We  have  had  25  years  experience  in  the 
handling  of  this  class  of  property— in  buying 
and  selling,  in  negotiating  long  term  ground 
leases,  in  erecting  buildings  for  desirable  ten- 
ants, in  making  expert  valuations,  in  manage* 
meat  of  estates,  and  in  conserving  the  inter= 
ests  of  non-residents,  corporations  and  indi= 
viduals. 

When  you  wish  to  know  anything 
about  Chicago  Business  Property 

SEE  US 


OLIVER  &  COMPANY 

S.  W.  Corner  Dearborn  and  Washington  Sts. 


MEMBERS  OF 


Chlc?;o  Real  Citil;  Bo.-ri 
Chicago  Association  c>  Commerce 


Telephones  Randolph  322O-3221  •3222-3223 


